CIHM Microfiche Series (Monographs) ICIVIH Collection de microfiches (monographles) Canadian Institute for Historical Microraproductlons / Institut Canadian de microreproductions historiques Technical and Bibliographic Notes / Notes technique et bibiiogriphiques The Institute has attempted to obtain the best original copy available for filming. Features of this copy which may be bibliographically unique, which may alter any of the images in the reproduction, or which may significantly change the usual method of filming are checlur la darniAra imaga da chaqua microficha. salon la ca*: la aymbola -^ aignifia "A SUIVRE". la aymbola V aignifi* "FIN". Laa canaa. plancha*. tablaaux. ate. pauvant atra filmto t daa taux da reduction difftrani*. Loraqua la documant aat trop grand pour itra raproduit an un aaul clichi. il a*i film* i partir da I'angla *up*riaur gaucha. da gaucha * droita, at da haul an ba*. an pranani la nombra d'imagaa nicaaaaira. Laa diagramma* auivant* illuatront la marhoda. 1 2 3 456 MiaiOCOfY RESOLUTION TEST CHART (ANSI ond ISO TEST CHART No. 2) 1.0 ^1- iii 1125 mil 1.4 m m m ^ /APPLIED IIVMGE Inc 1653 Eost Main Strr ylS^ / 9 r:A::A^A^j^:i^Aj^l:A.y AAAA PRANG'S NEW GRADED COURSE IN DRAWING FOR CANADIAN SCHOOLS . . ... . . . . . TEACHERS MANUAL «'; W. J. QAGE & CO. LIMITED TORONTO HiMi UIl. 3. (Saflc & do.'s E^ucntional Sciico TEACHER'S MANUAL roK Prang's New Gradhd Coursh DRAWING FOR CANADIAN SCHOOLS W. J. v.AC.K & COMPANY, l.lMITKD T( )kONTO I! Kul,,.'l ,„:„,,ll,l,i tn .1.7 ,,/■ thr P.lilnui,,,:! uf I'.tii.l.l.l, iu l/„ ,,ili.; Mini,!,-,- ../■ .I:irlr:i/li,n, l.il \y. ./, U.\i;K .(' < UKl'l!l;sK\r A'llnv l)KciiitArm\ . Co.vmiii (Ti"v (iKNKltAl. l>lliFI"l'IUNS linuK I. I!..(IK 11. . IS<>OK III. . ISciOK IV. , Ii...)K V. 1(1 PREFACE. 'Tills course of iii.structiou presents a means of mental development iiidispenssilile in the education of every child, as Ic-adin^' to a knowledge and appreciation of the beautiful. The editors Iiave arrange.l the work of this Course with special reference to Canadian conditions. Drawing is used as a means of training the eye and hand and as a language by wliich the pupil not only expresses but impresses his thought. Still further, in the "making" required in the study of the models and objects, th.. ability to use the hmids is trained and encouraged, the (nvative faculties are developed, and thus man- ual training, with all its healthful influences, is begun. Pupils going through this Course will not only be led, "through the cultivation of their observing powers, to take a livelv interest m the forms of objects around them, but will also become conscious of th<> power of expressing their ideas of such forms by drawing, whether -^Wtli regard to their facts as seen in working-drawings, to tlu'ir aiijieartuici' as soeii iu liictures, oi' to 1li(>ii' ilccoratiou ; nt tlie saints tiiiii", wliilo the oye has been trained to observe, and the Iiand to draw, the mind has been constantly unfolding through iiereeption, thought and expres sion. Still further, it is a ilistinet aim in tliis Course to load pupils to an appreciation and love of the beautiful as found iu Nature and as expressed in the haud-woik of man. AVhat mau has done, what ho has cre!iteils wore roady to learn perspective. Sucli 11 i)(isti)()ii(>iiu'iit is iiiisiil(>rtMl nueducatiouiil, and pupils ani now led first to see the appearaiico of objects, and then to sIkjw by drawinji; what they have discovered throufrh seeiiifj. Many pupils will have had no previous ojiportunity for such woik; special stress must be laid, therefore, on work in seeing. But ]?epr<'sentation of visible things is not all. The art is more truly called an expressive art, — the art of expi'essing con- ceptions, — for it enables a person to express b> di'awing ideas of things not really existing — a noble thought or a beautiful idea. The power to think the thought and conceive the idea is inborn; but the power to repi'esent the thought by d-awing must be ae(piired, and generally comes only by careful training. 11. DECORATION. Decoration is the science and art of producing beauty in r-stone of all good ornament. From this pi'inciple of fitness for its purpo 3 thei'o arises the fundamental law of THE TIIKEE DIVISIONS OF AltT STl'DY. VII oruanuMit — subonliuatioii. This law rtHiuires thai- all ouxa- MEXT SHALL BE IIUDEST AND MODEKATE. StlOUg l't)Utnist.S ail(l strikinjf effects violiite it. Illustrations of this i-erjuiremciit in mattois of good taste in general are familiar to all. A loud voiee in conversation is not excusable; a forwaril, self-asserting manner is a mark of ill-breeding. This requirement holds good in all ornament, whether architectural, domestic or personal. He is not well dressed whos9 dress is conspicuous; that house is uot well furnished where the fui-niture is obtnisive ; that building is not well ornamented whose decoration is uot sub- ordinate to the idea of the building. The study of historic ornament loads more and more to its interpretation as a visible manifestation of the history, life and spirit of the people who produced it. The contact of various nations or peoples, either through war, commerce or travel, can be traced in their ornament; and it is an evidence in the various phases of progress and civilization. ni. CONSTRUCTION. Coustruction deals with the facts of foi-m, and shows the ust which is made of these facts in the world of industry. Its importance, both educationally and practically, cannot be too strongly emphasized. Construction as used in graphic study is the science and art of making drawings which give the facts of objects and from which objects may be coustnicted. These are called working-drawings, and are necessary to guide the workman in nearly eveiy branch of manufacture. The practical value of constmctive drawing ^vill be more THE TIIKKE DIVISIONS 01' A1!T KTI l)V. iiiif form to purjiose, of agrecableness and lieauty of form — all in tlio service of the creative imagination. Tho pri'ieiples which govern the expression of thought ill tho subject of construction are fix<'d, ;ind take their place aiiKUig the exact sciences. GENEr.AL DTUECTIONS. DRAWIXG. Freedom of Movement. -Tli*- iini»ort;iin'ti ut ficciom of mnviMin'Tit in ilifiwiiig ciinimt bo ovt'i't'stiiiiiitod. Tt iirtxlnccs lii^'litncss ot" louch, '![)ils matciially Ic^setis the work of tlie teaeliei". 'I'lie abilitv to sketch rapidly and easily eainiot be attained without it A set 4»f drawing-books, finislied as draiii^litsiiien would liiiisli thern, rarely indicates the liest teaehing. It is of far more inii)ortatu-e tliat theeliild should have opportunity to work first for freedom of inovemeut rather than for straiglitness of lirie. Position.— The ehildren shouM sit CtiC6 Paper — It is desirable that pupils should have ac.e practice in free nio\cinent in addition to the work in the drawing-book. Quick sketches by the pupils fix in the mind the purpose of an exercise where, as in the pose or animal study, the lines of action may be studied from life pre- liminary to work in the drawing-book. For such purposes sheets of manilla paper, six by nine inches, are desirable. The sheets may be used on both sides for drawing. Provision sliould be made for twenty-five to thirty sheets for each pupil for use with one drawing-book. The teacher sliould guard against too nmch p actice prehminary to exercises in the drawing-book lest the children lose interest and the spontaneity of their effort suffer. PRANG*8 NEW GRADED COURSE IX DRAWlNd, 11 TVater-OolorS. — Water-folor piiints arc fiirntsiit'd to tlie stliunl-i in various funns. Tliere are li(|ui4] pjiiuts in Ixtttlrs, ihoist wiitt>r-c(ilur j»Linl>( in tulK'w, and paint Imixcs with cukes of paint. Pciliaps tlio most practiinl fur general use in the primary school is a paint-lM)x with three <'oHrs of exiellcnt quality.* For all line work in ink t-r water-color the brush should Ik* liehl as nearly vertical as possible, with the fingers slightly resting upon tlie paper and tin- whole arm moved instead of merely the fingers. IJioad washes are obtained l)y charging lie brush with considerable water and colur and v.-orking witii tlif side and not the point of the brush. To obtain control and power of expression, it is well to encourage even young children to use the brush in both ways. How to Use Water-Oolor. —Washes may 1)6 laid perfectly flat by working with the brush full of wet color, b<>ginning at the top of thy figure and carrying the coljr across the enclosing space from left to right, inclining the paper slightly and dragging tlie color down as it pojils. The excess of color at the lower edge may be lifted with the brush if the brush is nearly dry. A grrued wash from the full tone to a pale tint may l)e hiid by starting with a bru^h full of color (very wet) and carrying the tone as fiir down as the full depth of the color is desired, then by adding water and no more color every time the brush starts from the left to the right, the full tone will change, giving a graded effect ending in a pale tint. Long vertical oblongs are excellent for this exercise. When expressing in a pictorial way, the work should be as individual as possible, that is, the children should express as they individually see. It would be a mistake for the teacher to give directions or definite advice a^ to what colors to combine or juxtapose to give the exact tint or tone of a tlower, leaf oi' stem, as different children may see or feel the color differently. One child stvs ' The I*ran(r W.iter-Color Box No, t U roeommended. This box cotitaiiis three ejiki;s of fine 'liijility iind extra size,— one each of red, yellow mid blue. Thccolorr* worlc easily jiihI siitoutlib iiiid mix readily into «eeondaricn, tertiaries and Intermediates and broken colors. TIk'V ;iru |iiil up in attractive boxes with hintfcd covers. Two quill brushes of tioud quality and geiicrniw nize. "ith u-oo*len hantllers. fire included iu eaeU bos. The Inside of the box cover is llin«htnl for ttJ-ea-i a palette with three divisions. Vl TKAClIiaiS MANUAL. U'l'ccii ill till' Mhadnws or n ;,'|n\v iit tlm n'Mi-cti'd li-jlit, juid j-IkhiM oxjuthh what lie ND-s as ut-ll an tii> ciiii. Oii>' tliihl sn-s n-lii(< ami IKMliajts iti yr\\-i\\\ In htirli wuik I'liildrni hIimuM Im> fiir.nirautMl to work as much as jH>ssibl(< dinvtly from tia; [lairit, avoiding iiiui-h inixiiig. It(M'ari-f:il to use rl-'uii water, tlial is, waicp not cliar^rd with inta-h color by jUT'vious iiiixiri;;; and always put tliu hrusla-s and Imix away <|iii»() flcai.. A lioilow ,s|H)iii{o lifld in the left hand is useful ti. remove suiH-ifUious color fnim tlio lirusli, thus krepin;; tlie water clean. l>o not leave hnishes in the water or \"ii t' em in the mouth. Wtien ready to put the hrush away, wash it thorcms,;hly i i ch'an water and pive it a quiek shake; this removes tho water, whilo hnn,i,M:ii,' the brush to a [mint and preser\ in;^ its siiapc. BOOK I. The printed pattorn-sheeis furnished with the Utok may Iw used at the teacher's discrctioji wh(!never they will ho most helpful to the work in hand. Tn cutting Mio pattern for the sphere, the two pieces which fit together to cover a hall are U'st made fiom leatla'r, for ja-uetical usy ^he form steadily in place. In pasting;, push the laps iicM'-h tlie fonn so that tliey will not Ik» in sight v iicn the culjo \h linished. rU\X(iH NEW (11!M)KI) Col IISK IV DItVWINII. i:i Page 1. REPRESENTATION. The Study and Drawing of Grasses. TIiIm I'XiTi-iw is s\\)i:n- .1 f,,r ilm (ii»'Tnrn; „l tl:.- ^ih.».l vi'iir, l.i iiiiik^' n lili'iisiilil rii'iritTliii;,' link ' i mii'Ii life mit ipf iIimhs ainl wi.rk in >.. ImkiI. .M;iiiv whiMil cliiMiTii who livo in tlio «chiiiIit ur in ^lunll towns li.ivo iicici' iiriii.iliv iilisiTvisl I'll' I'linnniin jjmssos in siidl ii wny as In ji'iilizi' llio ilc'lic:ilc |.i'il'iTiiiin iif tlicir grnwlli an.l tli« piici luirl lifiuity nf tlirir ii,.|».iininiii in lf;it' uml in llowcr. Tlio Iciri'liiT sliiiulil csipoi-iully tiv 1.1 liclp |.ii|.ils to n.ili.r llic ililVi-r-in;; clinnictrTs of i|io ( non Knissi's, i.>'., to l»M'oin(,' iiii|uiiinliil wllli llii'in, lo nolico wliii-li kinils stiinil stiff iinil strai^lit, wiiifli Ih'IhI iind swjiy i;mri.fully in 11 linsw, wliich Imvi! li'.'lit, iValh.'iy lirads, whiili liiui (li-.«i|iin,i.' Iicails, flu., cti'. Tlie •{nis.si'M hi'ouKlit in liy ]iu|iils .slmulil l«. iirriini;i'cl in an n|irii;lit jM.si tion like tlmt in which they Krow imt iyinif Hat on tlio ilr,k. .\ii ca^y why of iinan;,'in!; them is to shut the lowrr part of iho sterns Ik'Iwi'om tho h.-m-s of a fiiiily thick IsHik, nml then set llio hook ui.iii.'ht on the |iii|,irs cl.sk, .>r, letter slill, on a desk at a little dislalleo so that tho Jjenelvil edect may Iju seen without too nuiny details. Page 2. REPRESENTATION. -Familiar Objects. Ij-t the draw-ill},' for page :.' !«■ from simpl.^, fiuniliar ..lijeets that are spheric, hi'mispherio or cylindric in form. Tf possihle have ea.h pupil dr.iw from ol)j.>ets on his own desk. Tho ohjeets chosen may In- familiar manu- factured articles or they may Ix' fruits and vej,'etal)les. The illustrations j;ive hints as to the way to make r.iim.l ,,l,j,.,-ts A.,,/! round even in a simple pencil ilrawiiig. In the pi.iurc^ ..f llie lull, tli.- slightly darker lines at one side suggest that that side was in shad.ov. It will ho found a g.sKl plan to liave tho first experimental drawings made on practice paper if time allows. Eiieiuirage jiiipils in makire' home sketches i»f spiieiie oiijects and in collectii from illustratiiais spajH' -■atai iijeets ogues, maga/ines. 14 TEACHER't) MANUAL. Page 3. RBPRBSBNTATION.-Nature Study. Grouping. Have tho pupiU bring fruiU nr vegetables to ncbixil ready fur tbn \n»„n Let tliera arr«.i«o their ..»., gr„„,«. Help the.n to «k) thut to get tho l»,t effect they »houhl put t ther tilings that natuiully bel.Mig t .gether. Onion,, heet« ami turnips nm^ •, more pleasing group than turnips and gru|s^. Pupils should group tog> Loer things wlnw forms l,«,k well together. Kor instanc-e, one large s.,utt,h an t |».,.|,l,., ,,„,,iu ai .his ,.„«p "ftlu, WM,k with rul-, f„r |,..>,».r.iv,., I,„t l,a tl>.„, .i„,,,lv ,,v t„ ,,.11 Ijutlifully with Ihrir iK'iu'iln wimt tUry liutu wfii will, tli.ir i"v,.,. ' Ir. .lm»i„« „,„• .ulm, otjjivl, llio ..filvt ,.f „„li,li,v j, 1,H|«.,| „„i 1,,. ..inkli.a tl,„ c,l«,., fH,.,l„.,t away a li,t|„ fainl.T, the li™ivsb wIl-.'s h liltlo Htioiigur anil clean'r. Page 5. REPRESENTATION. Familiar Forms. Hupi.ly ,.m-h pupil will, ,w„ ,„• t|„ „„„i,,u a,„l 1,.,, ,„„. ,i, i«i.,« Ik. mml.. sl,„w,„« t|,„ app,>,„.a „f ,|,„ j,,,,,,,, „• ,,,„ ,j,,,„„.,, ,,,,_, j^,^^^.^^, ^^_^ tl,,. .■ulx'H, »poc,al pai„H «ill l,avo to I,, lak,,. t„ »„ ,„,s„ th..„i that tl„. group will l,„l,l it, ,,„s;ii„„ M,.a,lily. A s,„all la-ass curtain ri, r ,i com.,,,.,, r».,.KT lm„,l lai.l .,n thu ca\m a, a n:t for tho sphoi-e wHl ,„.o. vent thi) latti.r fn.iii i-olli,,^.. ^fter .1 first trial on practieo pa|...r, ,l,.a«- i„ ti,e l„K,ks, re.iu.n.lKrin.- t .ko l,«l,t l„„..s at fi,st a.ul l,ri„« tl,,,,, out will, ,l„o el,a,-,u.t,.r a,,." aoc t oi,ly af.,.r tho outii,,,, I,,,., Ik.„.1 eo,.,-,.t..ly „,a.lo a„.l u„„..,.cs,sarv a„,.s rtjiui »n1. If «o„,o pupils aro ,lispos,.,l ,„ ,1„ ,.xt,.a «k..t,.|,i,|.,', ask tl„.,n f..r otluT llraw„,^.s on p,-ac.ti™ pa,„.r or in skotcl,.l„K,ks .sl,owi„« iho sa„,e c-oinhina- t.o„ of „,„,l,.ls hut »howi„- tho culx, lu,„,.,l at a ,li(r„,.,.ut an.-Io. Ask th,.,o to wulch for co„,l>in,vti,u,s o( tl„.so two fu,-„,s (or of .slij-ht nuKli.i™- tio.,.s of the »a„,e fo,„,.s) a,.J „,ake .sk,.ul,es of tl,L.„i. Gat,.posts a„,l n..w,.l posts at tl,., |„.a,l a„,l f,«,t of ,tai,-cases often show a sph,.rio f,jrm suriuou,,.,,,),' a sii„a,o prisni ,„• a cyliiuk'r. Page 6. REPRESENTATION. -Grouping Models. Beforo tl„.y U..,,in to ,1,-aw let tl,o pupils Pxp,.,.i„„.„t hrictly with their cyl..„lr,e „„„l,.|s „p „l,je,.ts to «,.,. how the appar,.nt shape of tl,e ei.rular top va,-,e.s R..,.,„.,li„^, to its position. Pupils shoukl 1« le,l to s,.o that though the actual sl,a,« is a ci,.cl„ it appears like a H„„,.,„.,l ,.i,.,lo o, e hpse; u„,l tl,e nuue .,early it is on a ]vvA with tl,e eye the t.arrowe,. una elhpse ui,i)":ii.s. IG teachek's manual. Have tlie pupila also study briefly tlie outline of the lower edge of tlieir cylimlric objects. Try to help tliein to see tliat wlion tlie object i.s in'Id so hijLjh that its bottom is on a level witli the eye its outline looks like a horizontal line, but that, as it is gradually lowered, the outline appears to curve downward, the curve growing fuller as the object is placed lower. Let one or two quick sketches l>e made on the practice paper to secure correct proportion of the objects and proper curvature of the upper and lower edges. Arrange a group of two oi ^iree models, including the cylinder, and draw the group. Page 7. REPRESENTATION.— Review or Optional Exercise. In arranging a group of models or of objects, the following directions are helpful : (1) Choose one for the principal object, and friends and l^longed together, and (5) so that they will appear ai rest. But remember (G) that the objects should not have the same positions, that is, their axes should not be all upright or all horizontal; they should not Ixi parallel nor at right angles to each other ; and tliey should not present exactly the same faces ; and (7) one of the objects should lie partially hidden l)eliind another, even if there are no more than two objects in the group. Look now (8) to see if in the group that you have made the objects will appear of the same height when drawn. If so, change them, for the effect will not be pleasing. By skilful questioning, the pujiils can bo leil to these points. The effect of distance into the picture, obtained by the placing of some of the objects farther back than others, can l)e expi'esse„,m1oI, or simple cubical objects 1» studici in various positions. It will Ik, well to make first several (juick sketc « on pra•' "ketelnn^ and the collection of j.ictures of objects rescmblin'' the culw. Pages. DEOORATION.-Good Arrangement. Beautiful Spaces. I^t the pupils consider the si.e of the space on the drawi,i«.b,Mk na-e, and p an for the size of the two squares that are t,. bo drawn on the pa-e The thmight of s,«ee r,.lations nmst cou.e in even in this preliminary pl.tn- mng. The size of the s.piares to l,«,k well in the space, the width of the mai-in about th,.ni, a,,,! the relative wi.ltli of the space I«tween them must receive thoughtful consideration. Every drawing exercise should include ' such study of space relations. Show .simple plaids in ginghams or other fxtik's. Let pupils draw on practice paper squares of the size decided u,,on for the ,lrawing-l«,ok i.a.-e I^ad then, to think how they wouhl arrange lines in these squares to male a pleasing diMsion of the space, using two horizontal and two v,.rtical lines. Let them express these thoughts by drawiug Hrst on practice paper with pencil or with brush, then in the drawing.l,„,k. Encourage individual work. Ihe exercise aims to find the chil.l's own feeling for the underlying principle of beauty in the ar-rangement, be it ever so crudely expres.sed. If the exer,.ise consists of the arrangement and copying of a verse lead the eh.ldren to think carefully l«.fo,e they b,.gin to work. Preliminary experiment, on practice paj^r the same size as the page, will bo helpful. Page 9. DECORATION.- Space Division. Plaids. See the suggestions for the work of the preceding i,ag(.. Show examples of plaids in woven or i.rint«l fabrics, so that it may be seen how others have exiwessed the tlmught of line arrangements. 18 TEACHEK'S MANUAL. Tlie chililren mav plan for tw.i wnmivs tn lio well plac.-d (.11 tlio Hmwing- book piige. U->id tlu-in to niuko a quii'k nVvU-h of tl.o scpiiiivs on pnictic.. paper, giving tliouglitful consi.leratiou to llii'ir si/(! ai..! to tlie intervening anil aurrf)un(ling spaces. Some otiier arrangement tlian a elieek slioulil 1)(^ eliosen. A clieck is the arrangement of equal s.iuares and is tlie simplest form of a plaid. The examples presented may serve as suggesti.ms. If the sjaees are too nearly of the same, size the de.sign may !« commonplace. Let then sketch the designs in the aquares on their practice pajier, trying nioiv than one if they desire, then draw in the book, using pencil or brusli ai.d ink. Page 10. DECORATION. -Examples for Study. The examples on the upi-er half of the jiuge are of ancient origin. The line borders tell of the fine sense of beauty in si«ce-relati..;.s among Egyptian and Chinese artists centuries ago. The bit of ornament between the borders shows Egyptian love of svmlxilism. Tt means the sacred river Nile. The zigzag lines were made to suggest the rolling waters of the stream, and out of these waters rose the buds and blos«,)iiis of tin; lotus, a plant resembling our wat<"r.lily. To the Egyptians it was a reminder of their ..wn immortality, growing as it did out fi the mud of their mysterious river. The tile designs, in the lower corners of tlie page, are studies of squares and circles, arranged with thought for beautiful proportions and beau- tiful contrasts of light ami dark. The otlier til<; designs show arrangements of squares within sijuares, with a suggestion of the effects of varying dark and light. The surface covering shows a well-considered repetition of one figure, covering the ground without crowding. It was designed from a plant-form. Page 11. DECORATION. -Optional Exercise. If one of the Iwrders is chosen to lie copied, let it be enlarged to three inches in widtli and carried across the page. If the square tilo is cho,sen for study, two designs may be drawn in the given space. tTjur^-Tf^: =i,-«:'*'iiw""'- '^j PEANO'S XF.W CIRADKD COUKSE IN DRAWING. 19 In liiiikinf,' mollifications of a given (Ifsign remeralwr that beauty of proportion and a.tiing(!iiient is tlio oncl desired. Mere novelty may be ugly and unintei'i'stiiii;. Page 12. REPRESENTATION. -Pose Drawing. Direct pupils' study of the illustration ^o that they may see what is most important and lielpful. Xotice how few lines the artist used, yet these few tell the whole story. .See h.jw the prir. i: -1 wrinkles in shirt and trousers express the muscular a. lion; tho>e in t , irnck show tho upward pull of the right arm ; those in tho li. i, elbow sugges. tho bending of the right arm ; those at thigh and at knee show tliat tho figure is not a stitF chiiui doll, but a live boy who sits and stands at will. (.Vioid choosing f<,r a mcHlel a boy in a perfectly new and unwrinkled suit. It will lie difficult to avoid the china-doll appear- ance. Clothes showing honest, l.'gitimate wear -ho< abuse -have much more character, from the artistic point of view.) Notice the slight indications of hair. Very few lines ai'o used, yet the effect is that of a proper growth of short hair. In studying the model, lead pupils to notice proportion first,_to see how large the head is i-onipared with tlie width of the shoulders; how width of shoulders compares with the « hole height of the figure ; how length of arms and legs (or apparent length if thi'y ap])ear forcshortenee whole lieiglit. Hin-e careful study given to the apparent shape of the feet. Pupils will often fmd them appearing very iliff'ej-ent from feet seen in profile, but the only way t.) make lliem look real is to di,.-' them as they actually appear. Let the first sketches be madi' on practice paper. They will lie crude, but should enable puj.ils to clo much better on a second attempt. The drawing in the book may Iw fj'om tho same subject or a different one. The purpose is not to proilucr ip.rt'ect drawing, but to learn to see es.sentials and to express essentials vigorous] v. Page 13. REPRESENTATION. -Imaginative Drawing. Let pupils make dr-awings to illustr-ate some familiar story or verse. The figure in the corner of the page, for example, rejjresents Little lied 20 TEACHEU'S JIANVAL. Riding-H.K,d on the «ay to her «,an,l,notl,e,'H. If preferred let tl,o pupils u»e for a the.ne ti.e kind nf work tliey would like to do. Keep the w.,rk as simple as possible, try to express what is n.ost important and leave out non-essentials. Make .,nly one draw.ns on the book-page, and have that of good si.e, well arrange.l ,n the space. Page 14. OONSTRUOTION.-Pattern Drawing. Freehand. Supply pupils with „..>delH of the eul« and let them study its s„rf.vce, deeidingVow n.any faees the pattern must show, of what shape and how joined to eaeh other. Let the first work 1« on praet.ce pvper ; allow puptls to turn the models over and over or the paper, impressing thetr edges so as to show four of the s,,uare faces i.i a row. The two additional squares (patterns for the end faces) might be shown attached to any one of the first four squares, hut the arrangement shown in the illustra ,ons_ is_a particular'/ g.KKl one. If the right-hand square were omitted others drawn, making a pattern shaped like a Greek cross, the Ik-: fasten:.lg of the sides in place would piodui' top. In actual work, the arrangement of the faces wouM de,K.nd partly on the shape and quantity of material at hand. Economy has to to considered in all industrial art. After the pattern has been -learly thought out and shown once by drawing on practice paper, let it be drawn once more on page 14 in the b,„,k. Let pupils plan the si,.e of their pattern so that it w,!! neatly occupy the space provided, without toing cramped for rooui. Have pupils draw first in light lines; then, w!,en complete, finish in flruier lines of even width and color. Page 15. CONSTRUCTION. -Proportion. Use of Ruler. If time allows, give .additional practice in the study of proportions, asking pupils to estimate proportiona first, and then determine them ex: tly, by measurement. Doors, window-frames, blacklioards, desks, book-covers, '-tc., lire were omitted and the iKMidiiig and a hollow cube open at the prang's new graded course in drawing. 21 make exeellpnt material for such work. The training thus given to the judg- ment is valuable in all kinds of drawing. Additional practice in the use of the ruler for exact lines is also desirable ; but, at thin stage of the work, pui)il» should practically depend most on free- hand dr-awing. Th(?ir work in Iiepresentation should invariably l)e freehand. Page 16. OONSTRUOTION.— Pattern Drawing. The pattern of a square prism can bo developed by creasing the faces in paper ai'ound the wooden model. In this exercise the pupils can join. It is better, as far as poHsible, to Iiave the pupils develop all exercises first through their own tivities, as the work then lays stronger hold of them than when they simpiv observe what you do. The pattern may also be developed liefore a class by placing an oblong face of the model upright against the blackboard and rolling it from face to face until each of the four oblong faces has touched the board, then turning it up till the upper stjuare face has toucheil the board, then down until tlie lower s(juare face has touched tlic board. The square faces may join any one of the ((blong faces. In pra<'tical work economy of space and material has almost always to Ix) carefully (.-onsidered when using a pattern, so the pattern itself is planned in such a way as to allow its rept^titions to fit into each other with as little waste as may be. Let the proportions of the pattern b« definitely decirled and followed, either the proportions of tho wo(Klon mwlel or other proportions clearly under- stood by pupils. Tho drawing should be finished in lines of even width and strength. Page 17. OONSTRUOTION. -Optional Exercise. Review. Tlie cubic Imsket illustrated on the drawing-bonk page can be easily and neatly made from a sheet of maiiilla practice pajter or a leaf of note-paper, and may serve us text and starting-point for the exercise of individual ijuagination lit creating new furms. A pattern for this basket is given !"-'-°. The short horizonta! lines within the outline represent simple slits cut a kniie or with one scissors-blade teacher's manual. used like a knife. Tf the pattern is drawn on a piece .if x 'J pructit-e paper the bisket itself will requira a jHTtion G x G ; the han.lle slmvild 1k> cut ,s-piece8 back as in the case uf the basket. Push the handle-ends throu-h ;mm fh^ "utsHh tnwartl the inside, and unfold the cross-pieces to PKANG'-S NEW GRADED CUL'KHE IX DKA\VI\<;. the HiUM'amncn uf tlnf retjiin the liandle in placi'. The illustration mIh I'oinpletfd ImNket. Tlie prop<>rtiun.s of the Iwisket aro capable (if niucli vanatlcn When iiia'le of fairly t(nii,'h paper It is a really cunvenient little reeeptaele fur many sorts of tritles. Neatly made, it is appropriate for Cliristnias candies or for May-day flowers. Children may like to take the Iwiskets home and repeat the work in different materials. The more inventive will j>erhaps like to experiment until they succeed in making, after the same genei-al phin, a box with a MejMirate cover. An Envelope. Tf an envelope is chosen as the subject nf the exercise, let the fii'st drawing \ie on practice paper. Decide on the kind of envelupo to 1)6 designed, wheth'T fir a friendly letter, a photr)graph, or for specimens of seeds. Bring out, through pupils' discussion of the subject, that if the enveiofH) ia for a letter it may l)e eitlier a broad oblcmg (fitting a sheet fohled only once) or a narrower oblong (fitting a sheet folded twice), l)ut that it should open along its broader side for the sake of ease in tjiking out the letter. Tf the envelope is for holdip-; fine sand or seef shaping an envt'lopt; than one realizes before looking into the matter. Tx't pupils work over this first di'awing till shape, jiroportion and details are all believed to be satisfactory for the particular sort of envelope needed. Tlien have the same pattern carefully considered with relation to the size of the drawing-bo4»k page and drawn once more on page 17 with such improvements as experience may have suggested. 24 TEACHEIl'S MANUAL. Page 18. REPRESENTATION.-Qrouping. See imgd 1« of thiM manual for suggestioiin in re«anl to tlio grouping of niiKlels or oljjects. Notice, in tlie illuntration on page IH of tlio (Irawing-lK)uk, liow a few lines of just the riglit sort, riglitly used, make the ghiss vessel actually ^"* glassy. When artists speak of rendering the texture of a surface they mean doing just tins, -^making glass look glassy, making fur l".)k like fur, making the delicate, satiny petals of a poppy and the rough hark of an old apple tree \nok like just what they are. The art of doing this has to he leariu^ gradually through study hoth of the things themselves and of go.«l drawings done hy others. Pupils may lie early interested in looking for examplea of goiKl draw- ing, and their increasing appri^ciation of what is good will l)e a help toward good work on their own part. Page 19. REPRESENTATION. Grouping. Rendering. Try to liave pupils think for themselves and discover by experiment just how they can make their drawings suggest the characteristic appearance of whatever they study. Page 20. REPRESENTATION.— Flowers from Nature. Many pleasant opportunities for the use of ilrawing occur to the teacher who is interested in natui-e study. Hudding twigs of trees ami shruhs, in different stages of growth toward full leafage, give material hoth for profitable science study and for practice in artistic sketching. It is a go(Kl plan to distinguish clearly between botanical drawing and artistic sketching. For instance, a first pictorial sketch might aim to give only the general effect of the budded twig as a whole, its main lines of g.owllj, the characteristic angles at which its buds and branches start out, and PRANGS NEW OKADED COlllSK IV Dlt.VWIN'd. : li., .1. iK-r.iriltivoTruutlUrlit nf II Klnwcr. Fig, e. Pictorial Drawing of a Flower. Fig. f. buiaiiicul atudy of a Flower. teacheb'h manual. Fig. It. Iii-fonit ivc TrcutuicDt of a Oni!-4. tlin tcxtiin^ of the buds, liard and smooth, or furry, or delicate iind silky as the cam) in.iy !«'. Tim aim of this pictorial sketch should be U) hrinj; out the character, life and Ijeauty of the twig without showing all Its aiuitoinical particulars. Afterward let a second drawing be made showing all the details discoverable by close examination— possibly by microscopic examination. Let the second drawing, the botanical drawing, lie a complete memorandum of all the facta &\m»t the twig which can Ixs et down in a graphic repivsentation. .Such lK)tanical drawing, while it lacks the beauty ami piK'tic quality of the artistic sketch, is of great value in its own way. The 7 Page 21. REPRESENTATION. -Optional Exercise. Animals. ft I.ot,»,i..mIs ™„ iH, ».u,li,..l.,lir,.,-t ,u...,„i..„ ,.l,i,.,U- ,„ ,1,„ ,l,„u..l,t „f pniiKirtions anil mtinn, n.s Uniiff m,wt i " If l>r<.f(.m.(l, iidilitioiml stuily l till! work of piige I'O. imjKirtunt. niiylH. giv,.„ I., plunt-Kfowil,, ,„„linuiii.. Page 22. REPRESENTATION. ^Out-of-Door Pictures. Stud} carefully the illu8tratio„s o„ pa,,.. -> „„,1 ,.;, „f , ,„;„„ , ^^ Not.ee e.,H.c...lIy tl.Hr simpliHty. .V g.vat .leal is t,.l.l l,y ,|„. „s„ „f v.^y f,.„ h... No .ee ..1,„ tho l.-autiful pla..i„« .,. ,|,.,.. f.,^ ,;',., .„aki„« , Zsa, Uivisioiis of the p.cture sjuu... * ' Copy one of the illustrations, ,.nlar«e.l to suit the hlank s,,a..„ .,„ ,„,. ,«-,. Enc,mra«e pupils to try to „,ake .simple out-of.d.s,r sk..tcl„.s fro, .,u.v and to hring them m for criticism. Page 23. REPRESENTATION. Landscape. -Space Relations in Ua.I pupils to see the nOationship iK-tue..,, the p,.i„,.ipal li.,..s „f „ ,,i,ture and .ts enclos.,,« outline .,r "f,.a„,e." If U,e suhjVct of the pi.-ture is ulZ Inef consKlerat,o„, that usually decides the shape .,f the whole, as ..,., a l„.„a.| horizon, a ohlong, a narrow, vertical oblong, a circl... .-te. But ,; ■ ■ ,f . a s,«ce of definite y .e,l shape and pro,K.rtions may he given ; then the , 't re .tself may „.«! to .« changed in or,ler to l,o feautiful in that particular place. and ^'"f" P"''"?''T"" P"«"^^ tw„ohI.,n,„,|ifreri„,, from those print.-,! an la so from each other. Have them adapt one of the givn landsCip.. , ho these new sp,ice,, making sue. changes ,„ the .-.■la.ions .,f ,1,,. lin.-sa! m.iv venv" 7'"''7'"7 "^^-^''-^ ^ can bo use,!, let the two compositions be V ry simply eolor,.d. Use not , ■ than three colors. ...,. ,., „ f,!, „„ ,„..^.' blue tor water, ami a jwler blue for .sky. ' i-«,i.',.s, 28 TEAC11EU*H MANUAL. Page 24. PICTURE STUDY. Tlio study of l>rawiii;{ is iin'uiit to help diildrrn U* gruw in piwrr of nppi-i><-iatinii on hi'II ns in piiwur uf oxf^nitimi. Tlio Htutly of i-t>ally jriMKl pictuivM mIiouM, tlu'rcfido, Ik) canit**! on in eatli p-mlf, and tlio Kiil)j('cts ('liD-ii'ii slinutit Iw cari't'uDy hcIi'cUhI ho that tlii-y may Ito attmctivo ami ifusmmlily itili'lligil)Io to pupilH of average cairndty. Wlicn in doulit as U* clioicc, always prc^icnt wluit wt'iiis tt) In* intrinHically tin* Ix'st. CliiMrcn ot'tun sliow tiiifX|M^L-t(Hl aliility to ivci>gni/« tliv gti'iitncNs of a real niantcr. PioturoH closely rt>Iat<><) to tlio chiUirt'n's *ted to see thf woodi'n shoes worn by the father and mother, and they will readily imagine the story which tiie attitudes suggest. Anton Van Dyck (1599 Itill) was a Flemi-h painter. He spent several year-* in England and was knifrbtud by Charles 1. The Httlti James, Duke of York, whose portrait is represented iu the drawing-book, was a son of Charles I. and afterwards became king of England (Jamus II.} This print was made from a crayon copy of Van Dyck's painting, so it shows two signatures — that of the painter and that uf the Italian copyist. The complete picture shows a group of three children. Children usually enjoy telling what they know ami like about a picture. The etudv of nny i^ood roprokii (hi iisi; iv uiiAWLSii. •J!» BOOK II. The Pattern Page.- Tlir Bijuiiin |,ii»ni putt,.,,, „iii ]«. f,,,,,,,! i„.|,,f„| for «tii(ly in f.mii.fiiuii with Ih.^ w„ik NUKxrstid „ii pagi's It uri.l in „i lli(3 (lniwiii}^-ljiKik. Page 1. REPRESENTATION.-Sketchlng from Nature. ""'" I I" l"">it-L'fl of this manual for suggestions on tlio di/Ierence Is'twei^n artistic ski'tches and drawing for purjioses of Ijotanieal analysis. Kncourage all the outside sketching which i>upils are willing t.. alle.npt rx>t branches of sei'd vessels be drawn as w,.|| as branches of N,nes and (lowers. Page 2. REPRESENTATION.-Hemisphere or Cylinder. Do not give iwpils rules f..r the correct drawing of ibesu f,a-ms but hel)) tluMn to .«,« correctly for tliemselve.s. If they see truly, their drawin- wdl 1« right. Ev,».n,u.-„t first with m.»Iel cvlinde« held v, rricxl. Ask pupils to hohl these so that the upper plane face is just on a level with IST jm 30 TEACHF.U'S MANUAL. the eye, niitl is tliereforo Imivly out ui)il should give an aecount of his own mixiel. If the horiziiiital .siiuare prisin is very near the o!iser\er, ho may he looking almost diivutly down upon it and his drawing he eonseijuentlv awkward and ugly. This van lie avoided hy making a |ilatform of l„„,ks and jilaeing tlie [irisni ui.on them, to get a more interesting and jil.-asing effect. E\eii whiM'c the top face actually apiieai-s very narrow, impils an- usually inclined to draw it too wide, hence the special desiraliility of care in placing for study. Pupils should he encourag.'d to do home sketcliing and to collect printed illustrations showing similar forms. Encourage tliem to lo.,k at such illus- trations critically; that is, to look for lieauty and accuracy to Ix; enjoyed ami emulated, and also to look for faults to bo avoiiled. Many hastily laeparcd illustrations found in advertising catalogues, etc., show the very same errors into which pupils fall; hut if these errors are disco, ered as something to be shunned, their study will have a certain value of its own. Page 5. REPRESENTATION. Square Prism Continue the work of the preceding page. If praciicalile, it will be well to make .several ex|H'rimenlaI studies in seciiuj and drawing on practice paiier, preliminary to work in the hook. Page 6. REPRESENTATION. -Grouping. I*t this be first a lesson in smiii/. Have .several sketche.s made on practice pa|»>.- liefore drawing in the Ixioks. The gnmping may he altered each time so as to present a fresh problem. WT-^'-i 32 teachek's manmal. Page 7. REPRESENTATION. Review. Optional. Notion, in tliR illustration on tlm ilrawinfj-liook fugs-, li"W tli.i diffoi-pnt kinds of lines used for the toii-pot luid tlio tumlJer show tlio iliircrence Iwtweeo earthcnw.ire and dclicato filass. Obsmvn, too, liow tho fainter, incomplete lino of th'; farther lower ed^e of the tumbler suggests its distance. If ' -orated objects are used for study, let their ornument lie as simple as possible and do not liavo it made conspiciiuus in the, drawini;. The forms studii-d and tiieir relation to each other in llie fimup should be the chief consideration. Page 8. DECORATION. Space Divisions. It will be well to make preliminary experiments on practice paper Ix'fore drawing in Hie book. Tf an origiTial design is to Im made for a tile, use for 1h» iinilerlying idea one of the skeleton outlines given on page ft. Keep llie design very simple, using only slraight Uti.'s. Tinisli in coiitrasliMg masses of liglit and dark. Use jiencil or brush and ink. Page 9. DECORATION. Space Divisions. Light and Dark. See suggesticms for the preceding page. It wc.uhl lie a good pi.ui m. make two tile designs alike in space division, varying the arrangement of light anil dark. Designs of this nature have been use(' tui- centuries liy workers in stone and wo,«l, producing mosaic or " par.|uetiy ' ll.i.iis and wal 1 surfaces, contrasts of color iieing prixlueed by diHerent kind- of wood or stone. Page 10. DECORATION.— Examples for Study. Pupils will like to look for tiecorative figures like thost! in the Gothic examples. They can often find them in caip. f"'-". nfUT fo,-,„. W|„.„ the 0,-eeks, later .les,g„ed th,. ,sa,„e o,- sio.ila,- o,„a,„e„,, it is p,-ol,aUe that they eare,I onlJ tor Its lieanly as a ]iatte,M. Figu,vs 1 a,„l :) .how ho„. .i,„,,,.. ,.„„t,-as,s of eolor ,„ay l,o exp,.essed With lllC pClK-il, ^ Figu,v 4 is eopi,.,! f,,„n an ancient Pe.sian nianus.Tipt in the British .Museun, I,s o,-,gin is u,„.e,.t,u„, but, in the original, the lower, ste.n-like pa,t w,th the sp,.ea,ling leaxes was coIo,-e,l g,een, the upi>er part rose-red, suggestnig that its nxitivo was p,olial)ly a flo«er. Kigu,vs 5 and C a,-e studies in spaeenlivision p,„.e and simple. It is .nte,est,ng to see what beautiful effeets can bo produced with few lines and sliapes. Figu,.e 7 is a pi,.to,-ial sketch of the .lwarfH..orneI or " Imnch-berrv " use,l atterwa,.ds as a l»sis of the tile designs 8 and 9. Notice that 8 and 9 a,-e ,„.« pictures, but show a .Ic^o.-ativo t,eat,„ent of the general form of .he gn,w„,g plant. They also show what difte,-ent effects n.ay be p„Klueed by ,hire,-ent ar,-an«e,n™ts of hght and da.k, while the actual space-division ren,ain3 the sa„,c. Figure 10, a design suitable for a ja-inted silk or cotton stuff, was made by «.,„g the suggestion of a fou,-.petaled flower or a whorl of four leaves Page 11. DECORATION.^-Optional Exercise. If a bo.der is chosen to 1« eopie,! or useork, let the dniwmg 1„ thr« inches deep nn-l car,i«i across the pa«e leaving good mai-giiis. '^° ' 34 TE.VCHEU'S MANVAL. siiuar ■h tint'. In' iii';i\vii in tlio given spjn;o, Tf a tile is chcispn, tw and a design armn};fil in f u'li A profitable exercise may be niadi! i.f tin; study uf a tluwcT in- a twig, as in figure 7, and its dcconilivo tivatnient for a tile oi- a panel as in >< and 9. Make tlio pictoi-ial sketch at the left <.f i«iL'e 11 and place the decorative panel at the right. Do not attempt elaborate designs. The simpler they are the k'ttcr they are likely to 1-j. Page 12. REPRESENTATION.- Pose Drawing. Refer to page 19 for general advice about exercises in pose drawing. The illustration on page 12 in the drawing-book is gi\en to .show simple and effective ways of drawing hair and clothing. Call attention to the lines of the dress in the lap; they sho\T that the thigh is horizontal, and consequently make the girl /.»<* a. if she were reidly sitting, and ii.pl simply leaning against the support. Lead pupils to notice also the lines in the sleeve near the elbow. They show that the arm is bent at the ell)OW joint. 'Without some such sign of muscular action the arm in its present length would be likely to look simply dwai-fed in si/e. Page 13. REPRESENTATION.— Imaginative Drawing. An nteresting theme for this exercise may often be found in the history, geography, or reading lessiui recently studied. Page 14. CONSTRUCTION.— Pattern Drawing. A study of the printed pattern-sheet of the s.iuarc pr.sm will be helpful here. Let pupils think how the pattern would ha\c to be modified to make a box with a hinged cover. Ask them to plan and draw on |iractico paper a pattern for such a Ihjx, making it of gi>.Hl proportions and, if jiossible, adapted to some definite use. Drasv again on p.ag. 1 1, making such improve ments as experience may suggest. Before Ijeginning work on the book-page plan the size and placing of the pattern so that it may look well on the page. Draw freehand. I'KANC's XKU several ways; l,.ad the chil.lren to .suggest ti.ese ways an,l ,0 choose the they think is l.st. In deciding this H.ev n,ust bea. ,„ ,n.nd not only the convenience of folding and pasting the pattern, but also the arrangen,ent that will ada,„ the drawing of the patteri to the paee on he drawn.g.hook page. Try to have then, carry ti,e thought fron, the ohject ttself to the thought of the pattern. The thought that the convspond.ng parts of the pattern «,ust exactly coi„ci,le will help them in securing accurate proportion. Have the,„ n.ake a ,pdck sketch, directing he pr,nc,pal thought „, the nia.ter of projK.rtio,,, .Vow let them exa.nine ).e,r draw.ngs carefully and in.agine them cut out an.I the pa.ts fitted together. .Such an exe,-cise of the iu,agi„ation will aid in .leveloping the .sense of ,>ropo,.t,on. ].e..d then, to plan ,0 adapt the si.e of the drawing to the space on the draw,ng.l„ok page. Another quick .sketch n,ay be „,a,ie, just >,ough to test the p an. Here again the children will recognise the advanige o be gained fn.m iKwng able to vary the .scale of the drawing to a.]apt it to any g.ven space, while by ,etai„ing the propo.tion the e.s.sential facts of he „„»!e .y^ ex,,res.„!. Let then, sketch the pattern lightly, giving thoughtful at,e„„o„ ,„ proportion, then (inish with clear, careful iLl fc-W. 36 TEACHEli's 5IAN1AL. Page 17. CONSTRUCTION.— Optional Exercise See page 23 of this maniml for Kiij,'i;ostioii« iihoiit tlm clesigiiiTig of envelopes. So many different kinds of envolc.pes ai-e useful fur diiTctcnt purposes tliat several exereisi's niiglit pi'oHtalily lie devoted to tlie sul.jcrt Bear in mind that tlie puriwso of such cxereises is to develop tlie pupil's practical common sense, his constructi\e imagination, and his mastery over his own hamls. If additional work in eonstrueticm is desireil for the cliiss or for special individuals, a .iai)er hox made by folding and cutting, without the use of glue, will be founil interesting. Tin- pattern, as shown here, may be drawn on the board and e.ipied to occupy a fi x C squai-e paper. Cutting should lie done on thn liniri/ Hii'-ii mi'i/. The light liiu's are for creasing and folding. A little familiarity with the pattern will enable ingenious pupils to fold without dniwing tho light lines at all. Make up, as shown in the sketch on tho drawing-l)Ook page. This Ijox was made from a six-inch square of paper .acconling to the given pattern. The ")! 21 Imse is L'i in. in., the sides J in. deep. The slits in the triangular corner flaps were cut ^ in. from the vertices of the tlaps. IJoxes m.ade in this manner may show a gT-eat variety of forms according to the way in which base and sides are proportioned to each other. Beauty of pioportion should always be aimed at. i^.-'xtjv^^im^- I'ltAMi's XKW used -should he sueh as to suggest tli.^ leading id,-as of a group. ThiTifore, in i pleting any drawing, keep in niin(i the whole thought whieh is to he expressed, and aim to express as far as possihie, by the rendej-ing, the saiiio ideas that weru especially considered in the arrangement of the gi'oup. The rendering should be sueh as to show the relative importance of the parts of a group or a picture. Page 19. REPRESENTATION.-Grouping. Rendering. In artistic rendiTing in cjutline, the ju'lncipal aTiil the secondary objects, the nearer and the farther ■ '.jects, the light and the shade, are all niad.^ manifest by tiio ditrerencct in quality and emphasis of lino. The princijial object lias the strongest emphasis or accentuation, anil all other objects receiver less in pn.p.irtion to their im|.ortance. This must be carefully borne in mind, for aTi eager worker often forgets the need for pxru-cssin"" the relati.ui betucen the princii)al and the subordinate objects, and emphasizo.s all e.|uaily, i)roducing a staring and "spotty" effect, quite ditVerent from that pr.«luced wh,-ii a due regard is paid to sulwrdination of the less important and appreciation of the more important parts. In the rendering of scLundary objects strong conlrasls shoul.l Ix) avoided ; the efl'ects of the Keconv perfectly tho cool, rippling water is indicated. Children in this grade can begin to understand that a well-composed picture gives most space to that which is most interesting at the time. In .Millet's draw lug the artist wished us to think of the warm earth and the c^ol water -nd he took most of the space for vhe.e. .„,,.,.. ,;„^ the sunshiny sky by the dark shadow,, bet pupils study other lanJsoapo pictures as opportunity occurs. 40 TKACllKli'S MAMAI.. BOOK III. The Pattern Page. Tlu- m'<-f i).>v.-* f"i- «lii.l, pitt,™ »lii-,is a.c -iirri will lie iim'iI ill rnniic'cUcn willi tlm Irssons in r,.iiMiu,-ti.iri, [ui-.'s U !■> 17 tif til'' ilmwinj!'l«H*. Page 1. REPRESENTATION. -Flowers or Fruit from Nature Eiicouni,!."' IHipils 1,1 lirir- in s|,i-cMnirris from wl.i.li .-linico iiiiiy In- nmili'. Bffuro tli.'se n.-o -iitli.'ivci, U\k «ilh lli(; pupils almut tlio r..<>ni thoi-o is for ciioi.v. S-mio iiro «lunt<'il an.l dwuifcl, cw mv unliiiliinc-cil, in- ,in- ill Konio «iiy l.liMiiisliod tln-ou-h aiviclrnts nf ,i:r..wtli. Tlics., slmulcl not l«- used. A>k tln^ [luiiils to look for IIow.ts oi ". iii» that ai-o unlilriiiiHiifil imd well d.-v.'loi«.d. And tli.'ii 1.™1 tli" I>"1'' "' »<■" tl"'t Hi''™ '» '"" only fhoico lis to tlio Howit or fruit, liut as to its npiH-niniico from dift'crcni sides. Call atleiilion also to llie exiiressiveiie-s of the leadiiu,' lines of •^rowlli. Let caeli luipil work from a suliject wliirli is al a little distance away, so as to j;et tlie j;i'»erid ellect. If pupils draw from an olijeet lliat is too near, tliej"are lik.'ly to lose si-lit of the whole while giving undue attention to details. Page 2. REPRESENTATION. -Oylindric Objects. T.,et eaeh pupil hrini.! some simple eylindrie oliject from home, desks Have far from the eye as cts are so the objeets to 1)0 drawn jilaeed on the pupil- praetieahle. The drawings will be more pleasing if the obj. placed that pupils do not see very far down inside. Sometimes it may b<' desirable to place the object on a l)ook or a pile of books at the back of the desk to secure a good position for it. Refer to page 30 of this manual for helps in studying eylindrie objects. Let one or two nuick .sketches lie made on the practice paper to secure correct proportion of the objects and proper curvature of the upjier and I'ltANu'b \EW liKADlii) col USE l.\ DliAWlMl. 4; lowr clircs. Tf the objccU stu.lir.l l,.n,. I„i,i.lli's, tli,-.i «ill 1, I ., i„iK careful ■■li-.crvuli.>ri. ' Ii..f..i,. l„ lM>ii«„„ul ImiMls „f ,l.,rk l,lu,.. ,S,.o l„,w ti,„ t kn.-ss „t' li„. ware is »»i;^.,..sl,.,| „t tl.c t .\„ti,-„ eHj,,.,- y tli,-,t tlic ,..l-„ r..,.,,.!.. .n.-r, xlmwiny tl,;,t it «„ul,l )h3 i,l..,i»nnt ti) tlio lij.s nii.l n.,t si,,.i|. lik,. ,1 k„iC,, ,\ tin tup i]iij,'lit l.iiM) a luMcli imn-.,»(.r (hI;;,., l,ut tl,i,t ul-.i w,,iil,l 1„. s.|-siand that although a great iuiuiIrt of splints or will.nvs «/« Im .seen in some baskets, yet one does not .see them all in lliiur entirety in looking at the basket as' a whole, just as when one looks at a tree, one does not .see all the leaves; and to represent them in the drawing would not tell the truth of the appearance. Tlie tendency, in drawing a eoinpaiMtiveh- sIuiUmv.-, nlilon" bjisket is to draw the top wider than it really appears. This matter" may' need siM.'eial observation. 43 TEAClIElt's MANl'AL. Tlio apiioiiiame cif a 0at liHKkei-lmiiillu, in tliu iKmilinn hIiuwii liy tin' illiiHtratloh, ul«i> II Is ciiri'ful «luily. Noti™ linw tliu furtlur eilno of the liiiiidlu (limipiMiiii^ anil then roapiwiim. .Study this in Ihii olijitt itst'lf. Page 5. REPRESENTATION. -Model Drawing. Miilio scviTiil »k"l<-hfs iif tliK MiiKlfl in iliffiTciit iKMilicms, u»in){ loiw slieots of |ir)iclire pupi'r. Wlien tluj oljwrMilioii \m>t iKH-uiiit) ftiiily :ifi'Uf(it<* h't oiiu liiij-r uutlinu ihiiwing lie made, well [ilmi'd i.ii tlio drawiiiglnxik |iugc. Encourage all thr (iiit-ot scIuhiI NkotchiiiK thn jiuiiils will do llmiiiilii/iilli/. If tlu'y wish tiJ atli'iii|it buildings with roiifs iiku tlio Hhipiiiy »iil('s of triangular piisruM, try In luivo thi-in draw >4inipl(? thiri),'«, i.r., Imnis and sheds, doj,'-kcrinels, chiekcnccMips and bird houses, rather than ilwellini,"< with bay windows and piazzas, iiivoIvin{^ eoinpiiuateil proldeins of [n-rfj'ee- tive. They will find that when a form like the trianj,'ular iirism is alnive the level of the eyes, as is the case with most roofs, tlio edf{es a]>pear to slant in a direction dilferent from their direetion wlien Iwlow the eye. Htudv of these variations in appearance makes an adniirahle praetieu in tlioughtfut m'f'iti'j. Page 6. REPRESENTATION.— Grouping. Tj't this exercise lie a review of the pupils' knowled;;e of the different forms. K.xpM'iiiiental sketches on jiractice paper will ijuickly show which forms most need further observation. Make ono drawinj^ on the page, with special care for gotsl grouping and agreeable placing on the Jiage. Page 7. REPRESENTATION.— Review. Optional. Help the pupils to select one or two lieautiful objects, or a fine vkso with a litvautiful fiower, and to arrange the study so that the light will bring out tlie greatest beauties of the objects. To secure a condition favorable for gmsl results, lio sure that the pupils are far enough away from the examples studied to see their beauty l'll.VX(i'S NKW (IKADF.t) COIKSi; FN |il!A\M\(l. 4,'J a.H ft wl,„l,. A.k 111,, pupils In siu.ly wlmt ih.y un. hI«,uI |., ,I,m«, t,. 1'''"'" " '"'ly '!'« K'-""!! wiiliiii ill,, „,,„,.,., ,„„l ,„ ,,„„i,|,.,. l,„^^. ,„„| „|',„,., to K,'t tlm U'-t i",ssil,lu i.ir,.ct iipuii tl,..ir Hp,i,.o. It' pupil, rliil ,i |i,i|,. inoro thinking IhIoio Blurting to i,l ,listurbing ih,. l,..viun. „f il„. p„p,.r l.y uiasir.- Page 8. DECORATION. Space Relations. Muny of tli« U'st l,o,,k«,v,.is a„,l pnniphl,.t-,..,v,.rs ,l.p,.u.l f,,r ij,,.!,. lK,.iuty „n g,>,i,l li.tt,>rinK, »" pUccI ,„ |„ nmkc pU.sing ,livisi„„s „f i|„. apace. Ki.|.(, tu v,.r-y simple (l.'sigris, h,th of spHce-ilivisiori ar„l of li.iterini.' As a rule, simple, cisily l,.j-il,l„ |,.tt,.,., „,.,. 1,,„. Elabomtu uoveltiea in the aliapo of leltiTs ure uhiiost certain to Ih, ImiI. Page 9. DECORATION. Space Relations. The ilesif;ns ;;ive,i on the sign, .is if foi' earthiMlware tiles— blue on white or white on blue, dull brown, etc. yell Page 10. DECORATION. -Examples for Study. Lead the children to give thoughtful study to Figure 1 on tli. drawing-lxxik page, to notice the g -ace of it, flowing curv,-, and th, laiigeiitial union of all it, lines, that is, to their growth out of e.aeli other. Ticaf stalk, always join the parent stem tangenlially, or in a WtL'y-^^ ^flTn- 11 TI.ACHKli'S MANUAL. ilirccti..,! which, if cntimii-d, wouleiitly tofii'tlu-r, iii'itlu'i- one cuttiii!- diivctly across the othci'. This tan gcntial union of linos is also soon in the parts of a feather wh.To tlioy join thu main rili, and in the nlid-ril) and veins of loaves. Vigorous, r..iin.l curves like those in the example were s|iocial favorites of the ancient llonian artists centuries ago. Scrolls liko those wore |)ainted witli the brush. Tn more elaborate forms they were carved in stone. Figures ■_', ,•?, and 4 show how design.s for tiles or larger surfaces are based on .sonu- undorlving gooiiiolric plan, in or.ler to .secure rhythm in the result. The underlying si-heme or skeleton may bo m.M-oly the division of the spac(^ into s.iuiiros liy means of voi-tical and horizontal lin.'S (Figur(! ■2) ; it may depend on a vis'ible or imaginary skeleton of vertical, horizontal, and obli.iue linos, producing level s.juaros and s.juares on their diagonals (Figure 3) ; it m.ay dep<'nd on a network of circles just touching each other (Figure 4). Thi'ro are many different ways in which the underlying plan of a surface pattern may be thought out. Figure D shows the origin of the ideas used in working out the design of Figure 4. They wore gathered from study of the flower and leaf of an Easter lily. Page 11. DECOEATION.— Optional Lesson from Page 10. if the Koinan scroll is chosen to be copied, special care should bi^ given to the study of its pi-oportions, in order that it nuiy have the same character after being enlarged. The coj.y should be made three inohes in depth and eai'ried across the page, leaving gocsl mai-gins. Preliminary practice on h«>se sheets of paper will lielp pupils to get the spirit of the curves. If pupils are provided with brushes, lot them draw this scroll with brush anil ink instead of with the pencil. If preferred, two scpiares l.iiiy Ivj drawn on page 1 1 ami used for tile designs or surface coverings. Tl'.ose may lie copi.sl fiom page 10 or made liv thoughtful modification of the examples there given. I'EANU'S NEW GUAlnCD C'OCli.Sj: ]\ DllAWINll, 45 Page 12. REPRESENTATION.-Pose Drawing. Pupils are always likrly („ ,1,,,„ f,.rt, .„mI li,iii,I, „„i,h t..u small Tx-ftil them to study tlic i,rui„„.tin„s ,,f il„. ,,,,.,,1 ,„„,1,.|. S naiiual, j«igo ID. Page 13. REPRESENTATION. Imaginative Drawing. The purpose of exercises of tl.is uatun- is I., -ive impils a eliauco to do free, cr-eativo work. Themes taken fiom the class woik in history and literature are often most su-gestive. S times jiupils like t., illustrate hits of their own jiersonal exiK'riemv. Their discovery of tlii'ir own limitati.uis of power should make them the- readier for serious application to work in the lessons which arc mure ilefiiiitely guideil. Page 14. CONSTRUCTION. -View Drawing. The pattern and the views of a m..del are very different. \'ie«s are M,t pictures of faces nor diagrams of faces. They are st.ite.ucnts in regard to the sjiacu which a forjii occupies. ■J'ho front view .shows how much space the f,u-m taki's up from top to liott(jm and from left to right. The top view shows how mucli space the f.jiui lakes up from hack t,, front and from left to right The side view shows how nmch sp.ace the f.,rM. lakes up f,-,,,,, top to l«)ttom and from ba<-k to front. The teaclier shfuild keep this clearly in her own mind, .\ view mav sometimes Iwpjien to give just the same .sha|M3 ami ilinieusions as the pattern of a face, as f.,/. with the cuhe ; hut the one has no nreessary .■eseml>lanee to the other. F.u- instance, the cylin.ler has no plane ohlong face; yet a front view of the cylinder is expressed hy an ol.l.mg, the lieigh't of the ohlong showing the sjiace iKrupied hy the cvlinder from top'^to Ix.ttom, an.l the wiilth of the! ohlong showhig the space occupied l.y the cylinder from left to riglit. Let the diagrams on page U he ohserved with this i!is(hicii,,n i,. ,„i„,i, 46 teacheb'8 manual. Have the pupils make rapiil freehand view-drawinys of two different models on pmetiee paper, in oidcT to be save they undeiatan.l exactly what they are trying to tell by their drawings. Page 15. CONSTRUCTION.— Working Drawing. Pattern. The different kinds of lines given in tlie nppM- rifjht corner of the drawing-lKK)k page are the principal "conventions" used in ordinary work- ing i1,1 rovi.-w tlicir kiK.»U'.l-e tl.at vifws aro nut piflures lu.r ilia-i-aiiis ..f faces, hut merely stateiueiits alwut tlie sjiaee occupietl. Tt will 1)0 a surprise to many pupils to seo how iiiueh diHeieiico there may bo Ijctweeii tho f.iecs ami the views of a triangular prism. See Kiifu es k ami I- Via. k. Views of a right-un«l ' trlaiiKular prisiii In fi.iir difffreiit |«.~ilioiis A O^ ^ Kio. 1. Viovva of an oquilatoriil 1 riiuit'ular prism In tliree dllToi-.nt positions. Page 18. REPRESENTATION. -Grouping. Keeall tho suggestions of manual, jiiiges 14 10, in regard to grouping. Page 19. REPRESENTATION .-Grouping. Rendering. Keeall what was said on manual, page 2+, in regard to rendering dif- ferent materials hy different kinds of hue. Page 20. REPRESENTATION.— Flowers from Nature. Pages 24 26 of thi.s manual explain tho differenee hotwoon pictorial sketches, botanical studies, and of the ihawiiR'-buiik. Tlic I'-iil.Tii „f tho dnnking-dip (the friistiini 'li'cl tor stuilj- in nmjic'ctiuii with jMgfS 14-17 Page 1. REPRESENTATION. -Flowers or Fruits from Nature. Tl,« al,l..,.l,f.n.v s„owlK.ny, hittor swoet, „,„] ,v,„„n,i„e arc good as ...lee„o..s il,e f,.u,t„..,, or s,.,.,l vessel, of tho h„, -k, h.,,„.e„l, shepherds pu,-.se unikweed and ,„se hips are all very Ix.autiful a„,l not only are ■meresttng snl,je,.ts f„r a ,h-a,vin. lesson, hut arc e.xeellent a.s motives for (leco.ative design an.l for Ireatuient in ink and water-color "\Vef objects for study, lead tliein tn do it intelligently, with thought fur : — The place of the principal ohjoct. The place of the secondary objects. The figure made by the group on tlic ;;niund or tabic Partial view of some of the objects. Upper line of the group. Variety in the positions at tiie axes and in tlie faces visible. Repose of the objects. Unity <»f the group -distance between objects. Refer to pages 14 anfl IC of this manual for more explicit directi,-i/.ontally, take gr<.at eare that the pe.uil is y,„',WW to the Ime of the eyes; in measuring v,.rticallv, that the pencil ,l,„.s not incline either backward or forward, either to tiie right or lo the l,.ft ; that it is k<.pt in the sarao plane, as it ...gainst a ^•ertical pane of glass directly in fr-ont of the eye.* As it is necessary that the distance of the pencil from the object shoul.l lie ab.solut,.ly the same while stu.lying any one object or group, all ■Ti,^..o ,i,„ ll.o ,u-,i.|„i.,l nilos for i„,.„s„r,.i„™t. „„,1 ut |,r,.s,.„t .l„y soMii llm ,„e.t i.nf „ , ,'''.""'■'"■• """" "'"' ":''''■■■"■ l"-'"P><'ive l„lMg „p >„,„„ |„.„blc,us will, riiranl t,j Iheso nilfs Hint lire not yet woikod o„I. mi rifc.irii lu 54 TKACIIEU'M MANIAL. mcasurt'iiM'tits NliMiiid Ihj tukt'fi witli the MlHUiMrrs rostiri;; firinly (lyjiinst th** Imek of tlio clmii-, juhI tlio in-riril at - "iii's Icngtli ; it will 1h» nuccswiry also to take all iiifa.sui'emt;nts with une .yu closfil. Position and Practice by Pupils in Holding the Pencil for Measurement. Sit wdl hack in the chair, with hra.l ni'ct, ami shcmldcrs i-pstin:; firmly against the liack of tho chair. Orasp tlio p^'ticil in the niiddlo with tho finpjors, leaving tlio tliiiml>, and as ocujisitin demands, the forefinger, free to niovo along the ]>oni'il. Hohl tho p'neil liorizcmtal and pnrnlhi to the line of the eyes, at arm's length, with the point to the riglit. Drop tho hand to rest. Hold the jK'ncil vertical (not inclining either backward or foi ward, either to the right or t!ie leftj, at ai-m's length, with the pniiit downward. Measuring Horizontally, sit hack in tito chair-, vh,x,' uno. «*/«, and lioUl tlie piMu-il hnri/.ojit;il, at arm's length, with the point to the right, and so that the left end apjjears to Ihj just at the left side of tlio form or figure to 1h! measui-ed ; maxa tiie thumb until it apju-ars to ln' juHt at the right side (Figuie v). Measuring Vertically. Hold the pencil vertical, .it arm's length, with the jmint downward, at sucli a height tliat the up[>er end of the per.eil apjH'ara to he exactly on a line with tlu < app'ar to iiielino toward thu li'vd of tlie eve. Tlio farther of two vertical eik-es appearx slioiU'r llian nio lieaiir. Oivo n» iiiuch piaetieo as time will allow, IhiiIi for uliM'rvation and for quick sketches, tellinj,' what has U'en ohseived. Page 6. RBPRESEN ;:ATION. -Grouping. I^'t this I'xereiso icc;i,'l to !; | lis' minds what they have learned througli their recent study of ani,'iil.i • . i.iects and what they had previously learned, by study of cvliiidric oliji,.s in regard to the foivshorleiiiiig of circles. Kefcr to jmtia 'M of this manual for the principal points to Iw reviewed by observation. Page 7. REPRESENTATION. Review. Optional. Kiich teacher will liavo in mind certain forms on which jiupils need to make adilitional observations. The illustration on the dniwiiig-lsxjk pai;e shows a sim|.!e and elTeclivc way of indicating shade and shadow, which may ho studied or ignored at the teacher's discretion. Page 8. DECORATION. Space Relations. tlu! work If it i- pn'fiMTcd to use this page for a surface design, keep very simple, Irving to have jmiiils fi'cl that Vx-auty of spacing and of dark and li-ht are much to be preferred to elalsiration of pattern. It is often a good l>lan to draw the same design twice, trying I'dllerent arrange- ments of dark and light with the same outlines. Use pencil or brush and ink. A good opportunity is aflbrded for work in color. I'llANd's NKW (lU.VI.KI) luriiSK IN liUAWIMi. r.7 Page 9. DECORATION. Space Relations. Dark and Light. FliWiT aiHl Iruf f.in.H ran .ilwuys l«. |„„lit.ilily .st.i.li,.,! f..r i.|..as to l»; u»«l i„ .l,.,i«„H „f thi, »„rt. TIk, w,„1< ,|„,„1,1 Ik, i,„hvklu,U, n,.t dictatek is made, the pui.ils would not put in meaningless lines. A well-proportione.I silhouette, full of action and life, ep.ikcs a very em-ctiiu dmwiug. 58 TEACHEK'8 MANUAL. Till! "old-time" silliiiuotte was usually (inly the head and shoulders cut fiDiti hluck [Hiiicr, iiiuuiited upon white. It was in vogue Ijeforo the ilays of photography, and some of the likenesses c-ut in sueli a way weii> very renuu-kuhlo. Tlie leading lines of a figure once ohtaineil, the proinirtions are easily found, and also their relation to each other. Bahies are all curves, with little or no neck, wrists, (jr ankles ; later the relation and i>ropi>ition of the parts change, and curves nioolroom allows. Page 13. REPRESENTATION.— Imaginative Drawing. The opportunity for free, individual work will bring out the pupil's special interest and ability. It should also make it evident to himself and to the teacher wlicre he needs to give more thought to his observation of this or that form, more care to his arra: gcment or composition of the picture. If the pupils have ma worked up for this exernise. PEANa'8 NEW OKADEI) COUUSE IN DUAWI.VG. 59 Page 14. CONSTRUCTION. -View Drawing. Review pupils' knowl- eit,„lv 4 , k- i '"'i-- .'.Jp should not Ik, ^ enough to the eye tor i.-ttering or ornara,.nt to U, distinctlv ihle o, cbflnite. A f... suggestive touches for such details wla^ he , n l that they .should 1* pl„.e,l will Ik. sulKcient. '" *"'^ Lead the pupils ,o observe carefully the covers of l»K,ks, and to notice that they project iK.yond the leaves. Unless a book is verv old .,„ I , .n .he bi„di,,g, the corners of the upper cover ^C'l^^ri^X those of the lower co^•er at whatever angle the l.,ok n,av be placed 1^ ^n K,ok resting against other books makes an interesting group.' n: L,-.^ ''"'' "".' ^' ""^ '■"' P'''""' f» '■-■ 1-Iow the eve and tlL the ,„„i| do not sit so near as to .see too uiu.l, detail. ' ' ' Page 19. REPRESENTATION, Sei! K.xereise 111. f..r suir-'esl ions Grouping. Rendering. Page 20. REPRESENTATION. Flowers from Nature. The difference between l«,tanical study of a plant its ol,-, „.,-,l f i and its decorative treatment is explained i, p^.' .^0 ^^ ':i;^ ',:;1:;;; ^ ' r 62 TEACHER'S MANUAL. Page 21. REPRESENTATION. Niiture. -Optional Lesson from What is true of the pictorial, .l.'i-oi-ativo ami «-iomific expression of plant forms is true also of the forms of hirds ami animals. ISook-cov. r», jewelry, metal work, wood carving, etc., often furnish interesting examples of the decorative use of subjects taken from the animal kingdom. Encourage pupils to hwk for such examples. Let pupils study some pet l.ird or animal, and make either a pictorial sketch or a composition for a panel. Plant stu.ly may 1« substituted if preferred. Page 22. REPRBSENTATION.-Study of Trees. It is excellent practice to draw trees in the mass first, in order to get their general form correctly without unimportant details. See what is said on page 57 of this manual about drawing figures in silhouette for the same purpose. Use pencil or brush and ink. Page 23. REPRESENTATION. Landscape Space Relations in The purpose is to proiluce a l)cautiful arrangement of spaces appropriat(> to the particular outlines chosen. If enge. — The printed pattcni i»£ tlui sijuare pyramid will be found useful for reference in cuimuetiou witli the work uf the drawing-book, pages 15-17. Page 1. REPRESENTATION. -Nature Study. Observe tlie parrot in the illusti-iition on tlie (h-awin;; lH>ok paj,'(s and see how his bill differs from a canary's or a hen's. The sketch of the parrot is meant to j^ivo pupils points about simplr and eifective ways of expressing botli form and the texture of pluniiige. The legs of this parrot were not slender and wiry like a canary's, but shaggy with down like the legs of some breee carefully reviewed, that pupils may have a definite grasp of its leading principles. Nearly all the principles in this subject can be gained from the study of the appearance of type forms, the simplest geometric solids. These type forms may be broadly classified as: — 1. Cylindric forms. 2. Angular forms. PKANG'S NEW OKADED COUBSE ly DRAWING. 65 Fig. ». L..rp Fici. t'. TfuU ike t'iirth^r f,f t,,-^ j ; ■ appears (;ti TEACIIEU*M MANTAL. fi. T/i'it (ifl /^n-'iff^l linri:nnti»eHr to ;. Tlmt all nn.li„.f h-;l .••nlnl r-hj,A „,,i>mi' /-> lltrli,,, f.nr>,nf tht (<>',{ of tilt tl/i'i 'lii'f inil-jH-ur to von- vetyv. to a /"nut on the lertl of the tt/e, and niHMt f>ti itrmcit no th'if, it' /.nxhirt-if^ th'f/ ir/'fl t/ifft in a fniitt on tin irnl of the ttft' (L ..f K). !'. Thai piiinlhl horr.oiit'il fhjtfH rrve'lliKj to tha lift n/i/itor to roitnnje t>> it i».iiit on the /ml of the- tf/e at the hfi tf tht ohjnt ; thosf irvcdlmj to the ri'/ht a/rptor to vniuyje to the ri'/ht of the, o/,Jrrt. These j'"i„tM 'in'. atUed refj cretin/ 1/ V.mishln'j Point 1 ( I'. J'. J J itnil Vaniifhinfj Point -i ( V. P. ■')' Fig. t^ hK T-int for nrtunjiuhtr ohjectx Htandintj with aide fares inrueil f/unl/i/ iiH'io/, the roniKhin'j fHjints Jevt ftandu. Y.P.I V.P2; Fiu. tK PRANIi's XI.W .lliAI.Kl) (Ol |,s|; |x „„.v\v|^,,. ,;- Tim illiistmti.ms .<{ tli.. Mr.i„.;,,Mr .( il t i • '•' •'"' ^ "■■' r-m i,oi„. ,1,1',,.,, „f u, .;'.".':■""•" T ^'; 1,,,.^ I .< '|',„ -,1 . • •111. < W. (11^., I') <..\(.,||l,|,(y. |„. ,„. . m.:ie fro,,,'',,,, ,, : ,„,''" ""';:'": ^ ■" ' •■ <""-i''- "■■'• . ,, "*• '" ""' '^'"-t ti'I'lM lit th,. „„„,.|s sl„»v tl„. „„„H,.„ iil-jixls ,„ ,l,fK,v,.t i,uM„„„., tV,„„ ,l„.i,. „,,„ obse,™tio„. Pa«e3. REPRESENTATION. Grouping. Light and Shade. r.,„k „t a„y object ,,la...,l i„ ,|,„ ,i,|„ . „,„ i; .:i,: :" \v"T ""';; ""vt --"^ " •"' "'"■'• ■ '''^■•''- . ,-,l ,|„, li„|„ shadP z:vTrV' ' ""^ "^'"' "■ ■ shadow -ast 1,, ,];,;:,'jf ' ^.£ : ;;L;z;':;r;r;r::vt;:r-*:.;;: on, 111:;;,:,! ''''■''^'''^'''■"'■''■'■--^"i-^-,s,,,,.n.,,.,,.f.,M,. :nf..::r.;:i*:L:;::;;'t:;;;:\:::;;:'i;t''rv"'''-^''''-.';^''^'" ^ eg TEACHEll'H IIANTAL. at the side. U tlie lower part c,f tlic«' wiiulowH am he Bcrponpil, it will be better. In the case of ci'oss lights, only the utroiigest shailes and shadows should lie ntuilied. See Figure «, where siinplB effects of shade and east Hhadows are expressed by parallel pencil lines, vertical, horizuntal, obli.iuc, curved, as the case may lie. The curvature or the direction of a shaded or shadowed surface may be indicated by the direction of tlie shade and sliadow lines, straight lines lieiilg used for plane faces and cut vcd lines tor rounding faces. When a shadow falls upon a horizontal surface it is expressed by horizontal lines and that if a part of the same sliadow falls upon a vertical face or surface, the lines expressing tlie shadow are vertical. These suggestions as to direction of line must not, however, bo considcr.Hl as abs.ilute or pre- scriptive. The strengthening of the outline ...way from the liL'ht, that is practised in outline drawing, is omitted in light and shade drawing. PKANO'S NEW GRADED Cni'nME IJJ DRAWTNO. 69 Whnn .1 pioluro is »„rl«.,l „p ti.WHi-.l full vulurs, thoro will appear Jnmjr..,,,.,/, mi././/, rf,,,,,, , l,.,rk,,,:,„„fl. Tl.rMO rnuy Ik, rani ut .■^..rl in 11 wmpio Kioiip tlm piiricipul ol,j,.cl U'wj, in th,s f„r..i{n™ncl, tlio secondary olijiTts Isii,^' in nuri.lii; cli,tiinir, tlio Iwikgroiiml lHMn« mldiil, ,w in tha illustrttti.m on llio .liawiri-lH,„k pa^.'. In rendmnK, '''" foreground should have tlie stron^-cr, i-li-aror louche, the ,„i,|,r„. distanio the more Hulxlued t.iucln.s, mid the hnikurouiid should 1h5 entirely subordinate, fainter, and li'ss di'lincil than any otluT part of the i)icture. Page 4 REPRESENTATION. -Angular Objects. Principles of Perspective. S(s> till' notes on the iwrsjK'ctivu of angular ohjeeis, jiage fie of this Principles Page 5. REPRESENTATION. Angular Objects. of Perspective. In thawing a pyramidal ol)je<'t al)ove the level of the eve, it is some- times found cliin.ult to make it Icsik pi-op'tly vertical. The problem is simplified hy knowing that the ape.x of such a pyramid is always exactly above the centre of tli.. (s.iuare) hise. The centre of the appearance of a square (no matter how much foieshortened that is) can always 1m found at the iK)int whc-re its diagonals cross. The illustration in the upper left corner of the drawiug-lnsik p.i-c shows an outline sketch of (he pyramidal roof of a tower, with light skeleton lines drawn to find the ccnti'e of the pyramids l)a>c and the correct I.TOtion of its apex on the vertical risin.- from that centre " Page 6. REPRESENTATION. -Grouping. Rendering. ]{ei-all what lia,s been leariK'd in recent lessons regarding perspective principles and rendering in light and shade. The illustration in the drawmg-buok expresses color, in a simple but efi'cctivo w'ay. 70 IK.U lIKli's MANTAI.. Page 7. REPRESENTATION. Review. Optional. Kiia.uni;: i .,,f ■- liu.il sk.-l.liin- Iiy V"!'''" "'"' '"'' ■"'"•'■'•>'li-'l '» ;atiTOplill« il". Th.^ |„.|,|,..,-liv,. JMilL-iph's aliv,ul> l,;,inr,l shoulil l«! li «l,;it,Mr .-..mvliniis air lu-i'.kd. Page 8. DECORATION. Space Relations. U aiKls iiilriv,! ali.l iiiaki's |..i-..il,li. iiiniv iiiti'llii;i-lil work, it' ii .li'sij;ii is ,iiuliMM...«l t.i liiiv,. ,1 il,-liiiit,' a|.i.li.Mliim; llius, tlir .IrMuii f..r u |.allrlli'(l il.'nr liii^lit liavr rcfi-irlicc tci tlid clltniiiii' i.f a s,-li,K,lli..iisr, rliuivli, ..r lil.laiv, ill.' .l....r ..f a iH-ikcasc, a falaiu't f..r .■«//..», a .■liina .■l.,-i'l, i-t.-., as llf ras.. may I..'. Tla^sii .lill^iviii.'s .if |.uili..s.' w.nil.l lialurally mil f"r lii'siani ililVi-l-in^- iii.nv .iii lliat papils' (.vlin^ f..r li.'auly will lliakf the iii-iiwtli (li'sir.'.l. Page 10. DECORATION.^ Examples for Study. Kif,'Uii' I is an i\.i!l.|it .•xalii|.l.' "f liyxanl iiii' .iilialilcnt as prai-lisi.,! in clnnrli ili'.-..rali..n in llic "ixiii iniiiny. It is fi..iii tlii^ callicdral i.t' Santa S.i|iliia in t'cnislalit in.il.li'. Tin- piiiTal iiliM uf the r.'lii'ale.l linniv ^v,is 1 well fnan llie an.-iilU Creek aiitheinii.li (I'i^iir.' I). Xeliee espiviully tli.-.'X.i.iisite ,.Mval,ii.-..f lli.' lines in Kigniv I. ll is .niisiilei-ed „li,. „f the in.isl l,.-alllifnlly il.-i,i:ne.l li^'uivs ,'vvv liiaile. i'i.'uns ■-', .I, '>, ti aid iils.i leliliiiiilieil fimil the alleielil Creek. I'lUNd's \FW .mA|,|.;|, cdlljsr. IV |>IM«IM. 71 Kij-lln , "•'""■ ' '^ '■' '" "!•' '■"'!■ I"..vl, ,.,„i,.l„.,l, , I, ,.|„„,,„, "l«nvs «,,v, „i,l, ,„„,„„,,„ ,,,n,.,| i„ .„„„. HMu.h, , ; ''■'"''■ '"■"'-. 'l-iJi' ■•• -^'i' til.., ,u..i „.v,ii,.. s„„i> „:: ■,, Page 11. DECORATION. Optional Lesson. "'. ■■', '""■■''.'■ '^ ■■'"-" '■■•'• iv,„„,l,„.,i i, ,|„,„, , "' niJi'Ii* ,11 least 1 ii,.,, ,,,. , ,. : 1 I ■ , iiiaMi- ,11 peas ," ''^ ' ■ "'"' ""■'•"■'' '"■■•'- 111" p..«.'. TIm l«„-.|,r ,l,.si..n, ..iv,., " '"■ -.-iiy *,.„>,. iM,„., „,,„., w.Mi.wui.; ,?: It II Milt;,,.,. , ,.s .,,1 is t,, |«. nil, I,. , , >■-..">..).• f,' iin;.,'.„; J,!,. ;:,:,. '■" ^■""■'"' "^ Page 12. REPRESENTATION.- Pose I)..wint' If pu,,ils „,v s,„li,.i,.n,l, „,.|1 ,„.,„„ I ,„ „, ,,,,,^, i.'ttiu.„,,,„h..,.„.f,.a,u,v. i„ „ i„,„„i,»u,,„s,iv,. „.„v, J ,,;,., i,„:: I'W, «.llM,„t t,-yi„K t„ ,,„t i„ .s„„.|l o.UuU. ' U':i.l tlici,, t.i shld.v pi„p„rti„„s will, „,„„t ,...,,, , , .n:;;:s; ^^■■"•"-^>' '■'...,.::/ , „ Page 13. REPRESENTATION Imaginative Drawing. '"'" '"'-" "'" ''' >^l"-e>.M.M, „f ,,u|,iK- i,„|i^i,l„,|in. i„ this ,.„.,,.i„. Page 14. CONSTRUCTION. Floor Plans. Tl,.. ilhlsh.-.li.MIs ,„| ||„. ,l,.,,wi„-l»„,Ii » -l.hui. A.sk i.ii|.il., f,,|. I'.'i^'i' in(.]wl,. .., ,.„i,i|„.,.-, ,,.„! ,,,„! -'" ™ ""■ "-'" ™- .«'.« -n ,;,„.L ^ ;:;:!,'::,:;:,i„:;,:;::.;^ 72 teacher's IIANUAL. Encoura".' homo wo,k inllio saino r than tlu.so US...1 in f.whand work. Ix-arnnig t.) keep the hanl l>encil well »hari«M,.-d, to hol.l it erect wh.-n nu.king is.n.ts or rubng lines an.l to use it either lighllv .a- m..re firmly, is an miportant i.art ..t • first, st.-ps in this work. l-.-a.ni..g to handle the ml,- ,l..ftly an.l n.asel..ss.,,, to lift it as little as ,»,ssible, to take as many measures as convet.ient with.mt moving it, t.. .neasure by it will, precisi,..., an.l t.. av....l using the "end inch,"i^' imiH.rtant in onler to secure rapi.l, thoughtful, an.l accura.e work. . ri.'f..re atlempting any work with c.mpasses. tii.' .-lass sh...il.l be mad.' M,inewl„it familiar with their appi'a.'an.'e an.l use in the lian.l ..f a tea.li.'r. tV.miia.ss.'s are us.'.l t.> .l.'scrib.' cir.-li'S an.l arcs, an.l t., s.'t olT distan.-'s. Tbey have a h.'a.l an.l tw., legs. In ilescribing a oir.'l.' ...■ an nir. the c.nnpas.se« ar,' b.'ld bv th.' h,'a.l, tl,., p..i..t ..f on,' l.'g is fi.v.'d, lb" .-on.passes ar.. turn...l, an.l the i».i..l ..f tl... olher l.-g .l,'scril>es a cir.-l.' a'smt the fix.'.l point It is, ..f .'..urs,', ess,'nli,d that the .listan,-.' In'tw.'.',, the two ,„,ints shall n'main the .sa.ne whil.' lb.' ciicl.' is K'ing ,I..s."ib.-.l. A wty to lu.hl the compasses without changing the angle b.'tween the l.'gs must be found. PKANG'S NEW GRADED CdrRSE IN DRAWINIl. 73 Practice pupils i„ „i„,ply taki„jr l,ol,l „f the cnn,pas»e.s pr,™,ly Bo .we tl,at ..very pupil I,h. ,l,e ri,-l,t ..-asp. Tin,„ spo„t, i„ this practice whei. he c„u.pa.se» a,.e first put into the l.a,„ls „f pupils, will 1« ti„.e ..v«l in the end. In .lescribing tl,e circle, there shoul.l I« a slight (and hut a slight) pressure on the fixcl p„i„t, t„ keep it in place. The ccnpass,.., shoul.' Ix! w placed that the pencil point will Ik, at the left of and Ih.Iow the centre- that IS, so that a line connecting the points would 1« at about an an-le and fingers on the Wl of the thun.b, the first finger gradually takin-- the place of the second, until finally the circle is fully descrilx-d. This move- n.ent should 1« carefully studi,.d and practised until a circle can 1« ,lrawn with one sweep of the instrument. Thefig„,.e ABFDE is a .,V.i,.-a plane figure hounded by a curved line tallcl a ,;n;mf.;-nur, every point of which is equally .listant from a point within, called the eiiitiy. Any line, as CD, passing fi-om the centre to the circumference, is called a iKiliuH --the plural form is nuiii. A line, as EF, passing through the centre of the circle and t(.r- minating in the circumfei-ence, is called a ilinmevr. Half a circle, as riTII, is called a xnui- nrrlr. Any part of a chvun-fc-ence. as JKT, is called an arc; a line connectn.g the exfendties of the arc, as .TL, is calh-d a cl,..„i e^aM, ^M,c„ the meal po.nt of the con.passe.s is lUcd on the p^.s.,- or the purpose of describing a .-icde or an arc, the point where it i.s fivcd s s.ud to be taken as a centre. The distance U.tw«.n the n.ctal point and pencl ,K,n,t ,s then ..ailed a ra.lius, -lake any ra,iius," n„'ans op.., he ..,„n,«..sses n.ore or less. "Take a ...dius of 1"" (one inch,, n.eans o.^.n the compasses so that the .listan.e lK.t«..en the jK-ints is I". This will .live practice „■ taking measures fro,,, the rule with the ,.„n,pa.s.ses, which sh.^uhl be held perpendicular ,0 the rule. "Take any ,K,int as a centre," ,n,.ans r 74 TEACHF.K's MANIAI.. li.v tl.c itlPtiil point on tho \«e them. In teaching Is'c it un< 'l-al in its I ,„,sMille Problem 1, care sldwld Is^ taken that this law slii ai.plication, so tli.n, the pupils will 1«' abli; t.. u conoitions. Anothei law governs all bisection, whetlier of line arc, or angl-, and this 1.-, - should becoMio the |.o-s,.ssion of the |.npils. A- for relations, the c'(uilaleral triangle is found in thi> hc\agon, .md is easily n.a.lo m the ■,,,~ccl.-,l scnucircle, while Is.th the e.|uilateral triangle anil the trisecteo ,..;,„,„ ^„„„„ Method of Development. Ex,iri»,.s i„ ti„. ,i..v,.i„„„„.„t .• by wMd. ,,upii. ,.„ >,. ,,.,1 ,„ ti,i„k „„t ,h,.„. s;,,u;:::,I ' "■"""'^• Problem i. Bo,-i„ ,l„. w„rk l,y ,.ivi„,, ,|„. f„l|„„,„,, ,|i,.,,>,i„„ „,„,,,.„ The q„ost.o„s a,Ki ,„,s«o,.s a.-e u.n-Ay su,,-o.ti>.. ; ,.k,. ,„„,■ „.„ „„.„„„, of lea.ling tlic pupils to di»c-nv..r the i,ruep,„. '''■'■'""■•";• I-D™"- ^' hnri«,„,al line o i„du.. |„„. „,.,| How does til.- line I 1 compai-o in .lire,., „,,!, il„. |i, is piinill.! to iln. Ii,i„ ,.\B. VVIifi, i, on., line p,i,ullel ,o ioiotln.f :■ \VI„ ,, ,|„. ii,„., .■i]»irt, tljiiinuhoiit tlii'ir .'iitii.' Iin.-lli JW. rln„ I -'an jnv, ' ;air^*«--*).-" li-'v-jjii*-.. in '6 TEACHEU's MANUAL. Now think ; cunnot a lino Im> drawn [Kii-aUt'l to DK witli Iohs work? — Yes; with only one sfuiicircle ut uiich end. (!omc to tlie iKMird and do it. Nnw, (-Jin tliis Ixj doni; witli any less work? — Yes; liy druwinj; just tlie top of eaeh nf llie two scniieircl<"<. Right. What is a part of a eimunifenMico culled ?— An ui* . Now I think you ciin tell me jilimit drawinj^ a lino puralltl to I lE. How many arcs will l>e necessiiry '.' -Two, Where niusfc their centres Ije?— On the lino 1>E, near tlie finis. Where must the arcs he drawn? — Ahove the centres. How lonj^ nuiwt tho arcs Ik3 ?— I^finj; enouirh to show plainly the hi^'hest points. Whjii radius? A radius eijual to the required distanee Itetween the lines. Here is a line, l>K, on the boanl, and here is a shorter line, Farullcl to DE, at a distanee Ki '/h-.-n liiu: r^et 1)E \ie. the given line. Take any two jx>ints in the line 1>R, near Uk; t'tnis, as centres, and, with a nulius equal to the recjuired (iistanee Ix'tween the lines, deserilie two an-s alwve the centres. Draw a line ;t t tangential to, or touching, the arcs, .'i 4 will Imj the rt'ijairttl line. Problem 2 — O" not state lo the pupils tlie ohjt^ct of this exercise, but give the following dictation. PEAX.^'S NEW ,.KADE,. CHK.sn IX WUW.N,, 77 /'/.■(„/,„„._. Will, A as .-PTitre, a'l'l a i«,liu, g,.,,itc.- llmii ),„]£ „f AB, ,l,.«TiiK3 a eiivl,.. With U ,., •■'■ntiv, and ll,e silnio nuliiis, ,I,,,e.,.il,. ■■' "'•'■'" i»f'-^«'tinj. ,1,.. first. Mark tlr- iH„ni^ ■< i..>.Ts,.,.tion 1 „,„! •- I'"''-' li'"', 3, 4, ,l„.„ut;l, 1 ami 2. \-k I'llfilx I„nv ,„ I,„. ,|„.|,. j„ «tnni„.„ts l,..„-k ,m ,|„. ,), ,|.^ ,^,„| -itmly ii,.'ii' tliaMiiij,'. .\^li H,)w (loa< the li.io :l 4 ,l,> i,lo tl,o In,,. AB!- I„ ,!,„ ,„.,„,,,, .J.,,,. |,,,^. 3 4 Ki-i.ts lliu lino .\U. ' " » IML ,1110 .1 4 tOMl|«Ui; ill llllV''t It. How did you do it !- Who r,„ ,,0 it wi,h less „„^r <■ „ ',"";"■"' "'" '"'■""' "' "■l«-..-lio„. i"-te,.d of „,,„,e eii-dos, r .I:;:".,:'""," "■ "r '""" •'■"■ ■'"- ■'^- l«low til... line. "■ '- "'"'Vn to intersect iiliove and Tl.is^ line. ,VB, on the 1,„a„, i, ,.i„,„,„, „ ■I"'- will |)e iRvt-isinv ■^- Tuv. tt I ' """ •""'■'" If. Hciiv iiiatix „., :"■'-- ■ e : UJZ W- """ ^^ "'■■^- '--' ^ ■ ""..Kh .i HImt .eiirres must 1,. i„l,.„., xi , , ^r'f- —-';:'" f::.!:ii;:",:! ":,':;;■, •'-"'::v;:r::i:n:^:;;;::^*'''^^ ».„, --:;:;;::::•-:;;;::''- ^ ,...,....._. I*rr 78 TRACIIF.l; H MANl'AIi. a lilli', 7 H, tlirmi«li iioiiils ."i iiiiil •>. Tlio line 7 S l>isi.,-ts tlic line CFl, anil is hIso jicriK'nclic-uliii' to llii; line ('!> iit ils wnli-r. Problem 3. — In n siTnilm- niunniT, li'iul Id i\. smli'nicnl "1 I'mlili'm .'I. Pkohlem 3. -'I'o I'imt nil iiir. I-ct EK 1)0 the given hit. With 11 i-.ulins ;;reiiter tliiin liiilf tiie ili^tmice fr.ini E to V, nnil tlie jHiintM E unil V iis eentivs, disiTilio m-vn inler~ivlin« eiu-h oilier ii1h)VO and Ir-Iow tlie mic KK. A line llircu-li tlie^e |M.inls of intersection Insects the luw Problem 4 'I'lie following ilictation illustnttis thc^ iippli.-iitioii of ])re- eeiling iirohleins in the (levi-lo|irTieiit of P.ohlern t. Tlie ivsuhiTi!; tigure should Ik- like the illustration Ih'Iow. I iirl,itiun.~ Draw a horizontal line •JJ" in length and murk the ends (ill. Uisect Gil hy Prohlem 2, and mark the centre I. Witli I .is a centre, and the radius (IT, desci-ilH' a i-ircle. Draw the vertical diameter of tin! circle liy continuing the line of liisection each wav to meet the circumferi e. .Mark this vertical diameter JK. Draw an olili.|uo diameter which shall Insect two diametrii'aliy .ipposite Huarter circles or ([Uadrants. How can this !»■ done ! By hiseeling the arcs C.I and J II. With (■ and J as centres, and a railius gicater than ri.f, draw arcs inlersecliTig in L. Draw a line fron) L through T to the ojiposite part of the circumfer- ence. r.iscctCI. \\ilh 1 iis ii .■eiitn-, and a radiu. c.|Ual to Icdf of i:l, de crioe a iM'ele. Study the (iL'i ceiling pioliletic niiiit IS I lie iiiii; Ml Ihe pi ,,f !»i It 1.. la.i M III- An aiiirlc r!'.;li!. ''Ccansi H,i» .1.— 'Ii. line 1.1 .hvi.w il ' II l>isert* » Ho* 'iM •< ti'l I. >— Kv i.*inv' lh«eiiil- ..I in. :ire and E as centres, draw quadrant*, and rule lines from tlie itoini of intersection to l> anil E. Come to the hoard and show how you would do it. fan it l>e chiiio witli less work? — Yes; with the same radius and centres, rlescrils) 'ihui-l ares that will intersect aliovo the centre of the line 1)E, and ''■ ii rule lines from the [loint of intersection to I> and E. How is the semicircle A 1 '2 B divided?— The i ■I'ircle is diviileil into tliree equal parts, that is, trisected. How could you trisect a aemicircumfcrence with y ..ir cninpusses ?— Witli tlio mdiu" of the semicircle as radius, and with each end of tiie seniieirclo as cutitre, describe short arcs cutting the seniicircumferenco. Does A 3 4 B look like any liguro that you havo ever seen ?— Docs it look like a liart of any figure that you have over seen!- It liK)ks like half a liexagon — half the base of a hexagonal prism. What is a hexagon?— A hexagon is a /iguro iiaving six sides. Yes; and when the sides are «iunl, tlio hexagon is called a regular hexagon. When they are une lli,- I'l-ntres of opiwsite sides. Wliat is the line that eoimeeta tlie opiiosile angles of a square called?— A diagonal. What does AB connect?— The opiiosito angles of the hexanon. It is, then, the diagonal of the liexagon. Look now at your ligure nn.l think. How would you draw a regular hexagon with c.iiiiliasses? Take ii .■.■litre and a radius and draw u circle. Draw a diameirr ..f the cii. !.■ : with llie ra.lius of the circle, and with the ends of the diameter as centres, trisect each semicircle. semicin^le alsive AB, tri^ (inneeting the successive ■,.Tf^ • PKANO'S .NEW „„AI.KD roVUSK IN WUWINa gj u„.l.... ,|,ftl„..„„ ,„„.,i,i„„.. ■ "'"' "'" •■""»'"'■■•'!"" of a hexagon Jx't Ali Ixi the ffiven lwis(> Witi, \ » i- r ■■"- "•- ' ■-".« ". p"i- ' 't: a'T::,;:,^'""! ab ^i;? Phi.hlkm 7.-7'„ ,/™,r „ ,.,,„„/„,. ;„,,,„,,„„ The .llu»tmti„„ on tl,e ,\nnviu.^-U„,k m-e show, „ „ i „ ' ■ ' '"''> '"• "l»u yivcn to pupils. I'i teacher'h manual. Ilir iHil I'f <( ijiiien littf. I'lttrc, till) kI PkoBLKM 9. — To draw (I fiffiiemiiitUiif n Ua PQ Iw llici giviii li'ii'. Willi I' iw I iinil any rtuliiiH, (IcscrilK) alxuit two-lliinls Ncniicirrlp, tlin ii;;lit I'liil of tlic! iiir icsiiiin ■ liiii" PCJ. With tlio saiiii) nulius, liiy iiH' ii|U (listanccH angles of U0° anil 45°. At I) eivit, a [.criienilieular, .1 T>, hv Pinhli-ni It. This niveH the right angle or angle of 00', 3 UK. Hisint this angl.' l.y Prolilem 4, liy the lino 5 D. The angles 3 D Tj ami j 1>E are eaili angles of 45' as required. PnoBLEM 11. -VVi nmstnii-t amjltn <[f (Ul° mid :Sint upon a (liven line, Ia-I CIH he the given line. .\iiKles of fil)° and 30' are iei|uired at the point G. With 11 as centre, and any radius lesc. than (iH, draw an arc up- wards from 1 on GH. Tjiy off on this from 1 tne distaiu-e 1 2, equal to G 1. Draw G 2. The angle 2 G 1 is the angle of GO" reiiuired. Bisect this by Problem 4, by the line G 3. The angl.-s 3 (i 1 and 3 G 2 nre angles of 30° as required. When juipils have mastered tlu'se fundamental geometric problems, proceed to: — "f whiili A I! PR.\NO's NEW DKADED COlliSE IN r.UAWim Ki i„^'"*^'^V?P^°*"°° °^ Geometric Problems in Worldnir nr..„ toga and Patterns, i,. ,i,„ >;,.«, ,.,,.1 .l..v,.|„Z., , ,^^07?^ w I, is just ,1,., .un... "" '•"-""'•'■'- "f the top vi.nv, III tin. illu»tr„ii„„ tlm arc ACOKn i, |,„|f ,„• „ ,,•,,,,,. the rliamuKM-, «l,ilo it f.,n,i» ||„. ,.li.,i-.l ..f tl,.. an- Ti,r ilimwii™ lH.tvv,,.n til,. .I,,,,.! Ah an.l tl.o are ACUy'l; l» Ki-eatiT |,i„|.„li.„,„t,.|_v tl.au ti„. diffi.,,.,,,.,. I„.,„,.,,, tlio ihunl AC ami tl.e are AC. Tlio Mnall,.,- <,!,. -livisions „( ti,„ are i,.sM.„ thin MT.-r -,., „, ,„.„ „t ^■^'■"- ■ -.:i.ii.^ I s .,:;;';:":;,.,:;';; rr :;„:;: ■■"■^"'■"""■"^^ '■■ The Frustum of the Cone. T» ti,e ,lov,.i„,„„„,„ ,„■ „„. f, , -. will 1« »..,.,. that .1,..,.., are tw,. ..u,...,! ,.,!.,.. ..a.l, , ' ;'".'"," Til- ,a.ii,H of ,1,., fi,..,t o,. la,.,..,. o„o is ,L . v r: "■ '"•"''■■ »' ■.. in ti,„ f,.„„t vi,.w. :,.i°; ;;;'''•'' '?:'" r* "- -o - '—'■•' "-^ -'- ^i::.!.;!;::;::;;,:,,,;:''' ^ '■«'«'" Page 16. CONSTRUCTION. Working Drawings. CI.ooso fai,.ly si,„,,I„ ol.j,,.,,, ,,„t ,■,.,,„„.„ sfi.-t a..c.u,.acv of „ ,...,!„„ i""l tun liHss of .hawing. - "'■Miv..t,on MlCIOCOn RESOlUriON TEST CHAIIT (ANSI ond ISO TEST CHAKT No, 2| 1.0 ^1^ 1^ ■^l£ III2.2 m I.I 11-25 111.4 m m 11^ ^ APPLIED IM/IGE Inc ^p^ 1653 Ea>t Mail 'itreel =-» Rochfsler, Naa Vo'". '*6n9 USA ^^ (715) 482 - 0300 - Pfione ^^ (716; 288 - 5989 - Fai 84 TEACH r.irs MAXIAI,. Give as mudi prarticc »s i>uNsil)le in " rcailiii;,' " winkiDi; ilnnviiij;s borrowed from practical workjiicii. Page 17. CONSTRUCTION. Optional. The illustrations on this pane .sufjgi'^t tu.i kinils of cxi'rciscs which will make new demands on the i.u|iil» : tlie .stii.Iy I'f tvpe models turned al various an^li's, and tlie study of hollow models whose iniu'r form must lie stated ill the drawin;,' hy showing aetual or iuiagiuary sections. Sections may be made vertically, horizcjutally, or oliliijuely. Page 18. REPRESENTATION.-- Grouping. Rendering. It may lie profitahle to copy the example v'iMMi on the ilrawing hook page, in order to understand U-tter its spirial excellences. Page 19. REPRESENTATION. -Grouping. Rendering. Previous exen-ises in the sanu; drawing-hook w ill have prepared tlio pupil for this. Page L'4 of this manual gives suggestions ahout the rendering of material or "texture." Page 20. REPRESENTATION.— Flowers from Nature. See pages 24-26 of this manual for counnents on j.ictoiial sketching, botanical study, and deconiti\e treatment of plant foiins. If decorative treatment is preferred, it is well to arranj'e the composition on practice paper. Whe'-e brush and ink are available, it is a good i>lan to try two different arrangenu r,ts of light and dark, a.id choose the better for working out on the book page. Page 21. REPRESENTATION.— Optional Lesson from Nature. The illustrations of horses and riders on the drawing-hook page are famous old examples of the decorative use of aninad and human figures. The huntsman is from an ancient Assyrian /.,n-r. //./, made alxiut fiOO years B.C. The horsemen below are from the celebrated frieze of the Athenian temple, PiuN(i'H NEW unxmn c.ritsE iv i.,,v«ixg. 85 Pa^e 22 REPRESENTATION. Out-of-Door Sketching. ..: _ . '"" >""• CIkilho a .s„„,,l,, |,„„^ "f tiv nIimiIi )cry «i.l.out „„y , „n,siv. ,„.„,>„„.,„. I,„|ie,.t„ ;,„„,,, wrliout trv.,,^- to shew any s,„;,ll ,|,.,„i|, ''- ^ - -.- J':;;ri:::i;;:'.:';::;:::;:;:-:— - ^.p Pa^e 23 REPRESENTATION.-Space Relations in Landscape a„i,„„, f„™, '■ "'"' '" "" •''••■-"- '-"—.t "f plant f„„n., a„,I r^t experimental weik 1k> ilorm „„ . r™-.iea,„e t,. n.ake in„ivi,,„ , I, 1,^ "wr""^'' " " '"'^ ""* '-" l.-n. u., „,„ i„u,t,.a,i„„, i„pa. . ' o o "] "''"'T'"" '"' "■" «....,, ta.e ,.„t. ..,„. lanL;,.- t;l:l:';;;,,:!r:;;::^f ' ™«- ii...t":n;;;i'T!::::;,3:'r -v ^"^ '-"'"-^ ^'"" "■" ^'-"^"^ effect, ;,ut to pnclue, las! ?'"'■'"* " " ""' '" "'"'"" * P-''"""' ma.,.e. in the ,'ve„ s^. .' "■■■™'g-"'e..t „f l,,aek, white and gray Tlefer to tlie suggt'sti(.n.s it this series. Page 24. PICTURE STUDY. rarding Pioture Study for I!i!jles for liases. A right-angleil Iiian-ular prism has rij-ht.unjr|ed tri- angl. s for its bases. An ccjuilateral tiian;.'nlar prism has erpiilateral tri- angles for its lia^os. An isosceles tnanftular prism ha.s isosceles triamdes 'or its Kises. " , HEXAGONAL: one whose bases are hexaifons. ELLIPSOID : a soh.l bounded by one ,ej;u. la'ly n.iMidin^. fa,.e and ha'vin;; three spliere; a form ■"'^'•' •"" "< wliieh niiiy be eipial ; a. solid ^eneruted by the revoluli, f an ellipse on one of its axes. OVOID: a symmetric solid liavin;; one rouiKle.1 faoo and having one end larger than the other. CONE: a solid having one plane eircular fane calle.i the lias,., ,„„| „ne ..urveil face. The cireumfeieneeof (hocurved face uiminishes regularly until it vari- islKW in a point called the vertex. In a righ, cone the vertex is directly over the ceiilru of the base. PYRAliIID: a solid contained bv a plane IKiIygon as ba-e ,ni,l t.iangular planes meeting in a vertex. Pyramids are nameil from their bases, as triangular, s'lnare, etc., as the base is u triangle, stpiare, etc. 87 SURFACE : the whole outside of ,i form. FACE : a imrt of a surface unbroken by an edge. VIEWS: drawings showing the facts of form. — , TOP: the vi,.-w oI,tiiine.I hy looking 'lirectly duwii ui»oii a form. •n'.Acinit's m.vni;al. VIEWS, FRONT : tU- vi.« ..l.tniiKil .if "ii i,l,j,-i-t «li. u it i-iliiT.iK in fii.iil 111"! opiK)"itL' tliu tvts (»f t !iu ult.si'i\xr. , SIDE: tlic vi.wulil^.iiiiHl'yl.iiikinj; lit mi i.l.j.-.t ill 11 .liivi-li.iii 111 lin'it iiiijllis til tliiit ill whiili villi luokpil fcir tliii fiimt view, tilt! viiriniis piirtHeif tlir, c)l.jci-t lieiiiiz wiijii. 'scd to 'it; on u luvt-l wilh tlio eye. PATTERN: luiylliiiij; fnt, ilnnvn. or foriiu'il, to )n: iiMil II- H i;uiilf ill iiiiil'- iiii; 1111 oli,|i-.l, mill siTviii.,' to iletcrmiiie its exact foiiii anil (UiiituMiiiiis. EDGE : tlif (iliii'i' will re livo fa<'P« liU'i'l- CORNER: tlifS|>iii-t! or contents iiifliiilfil (MilliiiiH -lioil railiiixof the [mi f union) iH'tweeii faces, edges, or lines that meet. OUTLINE; thodelille.l limits of form. LINE; the repifM-ntalion of leiiiith, '"it nut 'ireailth or thickness. , STRAIGHT: one -nhose direction remains the same tliront'houl its length. -, CURVED: oue-.ilioseililM wim.li u s„Ii,l ,„ in 0|i|»iMto .-iclir. ciiml liiicl iiumllil, 1 Imt 11(1110 i.f its iiiiylis ,iM|,t ,„,,.les. |.l, many jiie in TRAPEZIUM : 11 |,liiii.i li;,.,i,v li.ivin- fi.ur >lr;ii;_'lit si-lr-. m, t \M> nf uliicli aiu iMlllllfl. POLYGON 1 a |,liiiio tit-iiro liinii Hiile.i. A reculiir i«ilyjr(.ii i: which nil the fiiU-i uio Liiiml. PENTAGON: 1, |,hilio %„,e hiiviiiij five APEX- til slniiirht si,l,>. A ivj;Lihir |i,.iitii^..,ii is one in uliieh all the sides me equal. HEXAGON: 11 «j:iiie Imvii,}; six striiij-ht sides. .K retrulill- hexu^r,,,, i^,,m^. whoso siiles aro enmil. limine is a— UMi.il to n-i. The eii'ls of a ,iri-iii are- ealleil its 1.,-ises. Iliiiiii;h iiliviiiii-ly it ean lest ii|>*- tinu'iiM"*'!^ it fi'»"i ">'y "ttnT culor, as blue, rod, ulc. TONE: tmy ^tllto of u nil.ir iis it im^s.^s from liirlit to dark. Tnncs incliidf tints, hlmdfs, and the iioniud tone. NORMAL TONE: tlio typiral or rcpre- Hentativo tone of iiny ^iven ccjlor. TINT: a tone of color litrlitcr timn tin; noriiiul tone. SHADE: 11 tone of color darker than thi; norniiil tuae. SCALE: tho rt>;.'id)ir tian>iMnns fnmi a viAnr llinmj.'li succuedini: niiMlilicat ioiin of it. UNIT : tho fitruro reiioatfd ii» adecorHtiv.; arninyemunt. BORDER: rci«tition of a niiil or [«»rtiori i)f a dt'sii_fn on a lino. ROSETTE : a (lecorativo lurim^t'tnorit madu hy tho nynlar rpi»rtition of nnitw of design alxjut u centre. ^^f^'S*'***